portfolio cheinoporou ioanna by ioanna cheinoporou

CHEINOPOROU IOANNA PORTFOLIO

IOANNA CHEINOPOROU// MArch GRADUATE ARCHITECTURAL DESIGN, The Bartlett School of Architecture, UCL Dipl. National Technical University of Athens

CONTENTS.

GAD_UCL. ACADEMIC

NON LINEARITY: A SYNTACTICAL (URBAN) EQUILIBRIUM MArch diploma project

INFINITE LIBRARY// OR MY MONKEY WROTE HAMLET LAST NIGHT

ARCHEOLOGICAL MUSEUM OF C+PH. NEW CHALKIS PROFESSIONAL

ALTERMALL COMPETITION STOA

CTRL_SPACE. A101 URBAN BLOCK COMPETITION PROFESSIONAL

NESTED LIVINGROOMS

NTUA. PUBLIC BUILDING/LIBRARY

ACADEMIC

FOLDING THE CITY

LAVRION MINE PAVILLION

NEKUIA_A BURIAL GROUND

RESIDENTIAL COMPLEX THE OBJECT OF DESIRE

LICABETTUS PARK

AAW. ACADEMIC

MUSEUM PARK FRACTRIANGLE

GAD_UCL

THE BARTLETT SCHOOL OF ARCHITECTURE //

FREDERIC MIGAYROU / ALISA ANDRASEK

NON LINEARITY: A SYNTACTICAL (URBAN) EQUILIBRIUM

MArch diploma project supervisor_LUKE PEARSON [written thesis presented and published during the symposium on SMART CITIES during the 9th CONFERENCE ON INTELLIGENT ENVIRONMENTS 2013 (IE ‘13),in Athens, Greece)]

The project focuses on the dynamic manipulation of the city data as the immaterial brick of a recursive procedure which ends up proposing a distributional method of WIFI hotspots throughout Central Park as well as their formal manifestation. This designing procedure which is recursively implemented on sequential scales, is algorithmically guided by the properties of a Spring System which tends to achieve an equilibrium of its elements under any circumstances or alterations of its components. These properties suggest a re-arrangement of the city condition through a “syntactical” re-distribution and adjacency of the existing nodes of the built environment and these of the urban tensions which emerge by the citizens’ behaviours. This process “reads” the invisible components of the city and metaphorically simulates the interactive relationship between the cyberspace and the urban reality as a non linear structure. This chaotic non linearity, could be further recognized in the physical and spatial outcome of this procedure, implicated by indeterminate wire structures emerging from the volumization of the distributional system of the WIFI nodes.

SPACE ACTIVATION STRATEGIES

SPACE OCCUPATION GENERATED BY THE SYSTEM,

POINTS

ACTIVATION OF SPATIAL POINTS THROUGH THE INDEFINITION AND ORCANICITY OF THE UNSTABLE SPRING SYSTEM UNTIL THE ACHIEVEMENT OF THE EQUILIBRIUM.

SPATIAL UNITS ACTIVATED BY THE MOVEMENT OF THE SPRING SYSTEM, “WRITING A LANDSCAPE”. STAGE 1.

STAGE 2.

STAGE 3.//EQUILIBRIUM

SPACE GENERATION STRATEGY

THROUGH THE DISTORTION

OF AN EXISTING SYSTEM. INFLUENCE OF THE UNDERLAYING FORM BY THE BALANCE OF THE SPRING SYSTEM.

SURFACE GRID DISTORTION ACCORDING TO THE SYNTACTICAL ADJACENCIES OF THE SPRING SYSTEM. TESTING THE SPATIAL QUALITIES OF THE DISTORTED SURFACE EXPERIMENT A.

DISTORTION CONTROLS_ IMPACT DISTANCE CONTROL_ 20[UNITS] DISTORTION CONTROL_ POINT DISLOCATION RANDOM [10,50]

EXPERIMENT B. DISTORTION CONTROLS_ IMPACT DISTANCE CONTROL_ <35[UNITS] DISTORTION CONTROL_ POINT DISLOCATION RANDOM [10,50]

EXPERIMENT C. DISTORTION CONTROLS_ IMPACT DISTANCE CONTROL_ <40[UNITS] DISTORTION CONTROL_ POINT DISLOCATION RANDOM [50,100]

EXPERIMENT D. DISTORTION CONTROLS_ IMPACT DISTANCE CONTROL_ <40[UNITS] DISTORTION CONTROL_ POINT DISLOCATION RANDOM [100,150]

DISTORTION LEVEL_ E GREAT DISTORTION OF THE GRID

DISTORTION LEVEL_ D DIST. BETWEEN SYSTEMS 35 UNITS

DISTORTION LEVEL_ C DIST. BETWEEN SYSTEMS 30 UNITS

DISTORTION LEVEL_ B DIST. BETWEEN SYSTEMS 20 UNITS

DISTORTION LEVEL_ A DIST. BETWEEN SYSTEMS 15 UNITS

UNAFFECTED GRID

FORMAL INVESTIGATION TOWARDS A SPATIAL MANIFESTATION OF THE DYNAMICAL DISTORTED CONDITION void setup() { size(1200, 800, OPENGL); noStroke(); smooth(); background(0); lights(); createFont(“Tahoma”, 0.5, false); // textSize(8); hint(ENABLE_NATIVE_FONTS);

for (int i =0; i< partix.length; i++) { pushMatrix(); translate(0, 0, 0); partix[i] = new Particle(i, speech.get(i)); popMatrix(); }

// textMode(SHAPE); // String[]coords=loadStrings(“coordinates.txt”); String[]SAdjectives=loadStrings(“adjectives.txt”); String[]SAdverbs=loadStrings(“adverbs.txt”); String[]SNouns=loadStrings(“nouns.txt”); String[]SVerbs=loadStrings(“verbs.txt”);

for (int j=0; j<=numberOfPar; j++) { int t = int(random(0, SAdjectives.length));

}

String[]suntetA = split(SAdjectives[t], ‘,’); wordsAdj[j]=”adj”; float xxA =(float(suntetA[0])); float yyA=(float(suntetA[1])); float zzA=(float(suntetA[2])); coordinates.add(new PVector (xxA, yyA, zzA)); speech.add(wordsAdj[j]);

for (int j=0; j<=numberOfPar; j++) { int t = int(random(0, SAdverbs.length));

}

String[] suntetADV = split(SAdverbs[t], ‘,’); wordsAdv[j]=”adv”; float xxADV =(float(suntetADV[0])); float yyADV =(float(suntetADV[1])); float zzADV =(float(suntetADV[2])); coordinates.add(new PVector (xxADV, yyADV, zzADV)); speech.add(wordsAdv[j]);

for (int j=0; j<=numberOfPar; j++) { int t = int(random(0, SNouns.length)); String[] suntetN = split(SNouns[t], ‘,’); wordsN[j]=”noun”;

}

float xxN =(float(suntetN[0])); float yyN =(float(suntetN[1])); float zzN =(float(suntetN[2])); coordinates.add(new PVector (xxN, yyN, zzN)); speech.add(wordsN[j]);

for (int j=0; j<=numberOfPar; j++) { int t = int(random(0, SVerbs.length)); String[] suntetV = split(SVerbs[t], ‘,’); wordsV[j]=”verb”; float xxV =(float(suntetV[0])); float yyV =(float(suntetV[1])); float zzV =(float(suntetV[2]));

}

coordinates.add(new PVector (xxV, yyV, zzV)); speech.add(wordsV[j]);

}

for (int i =0; i< grindice.length; i++) { for (int j=0; j<grindice.length; j++) { for (int k=0; k<grindice.length; k++) { // for (int b=0; b<100; b++){ grindice [i][j][k]= new GPoint(i*bil, j*bil, k*bil, 2); } }

void draw() { background(0); ambientLight(48, 48, 48); lightSpecular(230, 230, 230); directionalLight(255, 255, 255, 0, -0.5, -1); specular(255, 255, 255); ambientLight(0, 255, 255); ambient(0, 200, 100); smooth(); noFill();

for (int i=0; i<coordinates.size(); i++) { stroke(150); strokeWeight(3); pushMatrix(); translate(0, 0, 0); point(coordinates.get(i).x, coordinates.get(i).y, coordinates.get(i).z); popMatrix(); } for (int a =0; a<grindice.length; a++) { for (int b=0; b<grindice.length; b++) { for (int c=0; c<grindice.length; c++) { grindice[a][b][c].make(); } } } for ( int i=0; i<partix.length; i++) { for (int j=1; j<grindice.length-1; j++) { for (int k=1; k<grindice.length-1; k++) { for (int l=1; l<grindice.length-1; l++) { // if (grindice[j][k][l].sp.equals(“verb”) ) { if (PVector.dist(partix[i].position, grindice[j][k][l].positiona)<8) { {

noStroke(); if (partix[i].identity.equals(“verb”)) { fill(100, 20); } else if (partix[i].identity.equals(“noun”)) { fill(200, 20); } else { fill(255, 50); } stroke(255); strokeWeight(1);

BALANCING PROCEDURE A NEW URBAN EQUILIBRIUM GRADUAL FRAMES OF THE ALGORITHMIC PROCESS

EXISTING URBAN CONDITION

NEW URBAN EQUILIBRIUM

TED RIBU LE DIST CT SCA E OBJ

GR SC ID AL EB

EM SYST A T ION IBUT CITY DA R T DIS IZED UM L O V

DIS SC TOR AL TI E A ON

CIT

FEEDING STATIC DATA THE SYSTEM SYNTACTICAL ADJACENCY OF THE CITY ELEMENTS

URBAN BEHAVIOURS

WIFI HOTSPOT

GALLERY

GENERAL EXISTING CITY CONDITION

TWITTER GEO

ADMINISTRATION

LIBRARY

SCHOOL

DESIGN PROCESS

THE FIVE STEPS WHICH CONVERT THE DATA OF THE CITY INTO A FORMAL STRUCTURE

DISTRIBUTION SYSTEM FORMAL MANIFESTATION

URBAN TENSIONS /

DENSER AREAS OF THE SYSTEM WHICH WILL HOST THE WIFI OBJECTS

OBJECT PLACEMENT

OBJECT EMERGENCE ZOOM IN THE OBJECT THE PROCEDURE AS MINIFESTED TO THE SKELETON OF THE MAIN OBJECT TO BE DISTRIBUTED AROUND CENTRAL PARK.

THE NON LINEAR NETWORKING WHICH IS THE MAIN CONCEPT OF THE URBAN DISTRIBUTION STRATEGY OF THE PROJECT, ENDS UP BEING MANIFESTED IN THE OBJECT ITSELF AND TO IMPLY THE CHAOTIC DATA NETWORK OF THE CITY. AT THE SAME TIME, IT SYMBOLISES THE NON LINEAR SYSTEM WHICH GOVERNS THE CYBERSPACE WHICH CONCEPTUALLY ACTIVATED THIS PROCEDURE SINCE THE GOAL IS THE PHYSICAL CONSTRUCTION OF WIFI BOOSTERS AND HOTSPOTS IN ORDER CYBERSPACE TO BECOME A URBAN GATHERING NODE WITHIN CENTRAL PARK.

1. SKELETON OF THE STRUCTURE

2. SOLID OBJECT, PRIMARY SPATIAL IMPLICATIONS

FURTHER FORMAL EXPERIMENTS ON THE INFLUENCE OF THE ONE ELEMENT TO THE OTHER. THE PREVAILING OF THE TRIANGULATION OVER THE SURFACE GRID SEEMS TO BE MORE APPROPRIATE SINCE IT LET THE BUILDINGS INTERVENE TO THE LANDSCAPE SMOOTHLY. THE EXPERIMENTS UNDERNEATH PROVIDE AN INTERESTING RESULT BUT THEY REFER TO MEGASTRUCTURE INTERVENTION.

WIFI HOTSPOT LOCATIONS

THE FORMAL INVESTIGATIONS START TO PRODUCE A TANGIBLE SPATIALITY: THE WIFI HOTSPOT PAVILLION

INTERIOR SPATIALITY DRAWINGS

WIFI HOTSPOT PAVILLION

WIFI HOTSPOT LOCATIONS

GAD_UCL

THE BARTLETT SCHOOL OF ARCHITECTURE //FREDERIC MIGAYROU/ALISA ANDRASEK

INFINITE LIBRARY// OR MY MONKEY WROTE HAMLET LAST NIGHT

supervisor_ LUKE PEARSON

Design research which uses the spring system scripted physical properties as a medium of detection or visualization of the topological properties of the manipulation of language or of speech through an algorithmic procedure having as inspiration the two allegorical readings by Italo Calvino and Jorge Luis Borges. The procedure followed is based on an algorithm which manipulates the English dictionary dataset and at the same time the spring system. Dictionaries function as the infinite universe of words in a chaoticly infinite space such as this of the computer. The spring system functions as the tool inside this universe that allows all the possible combinations between words to take place. The user controls both the number of words loaded every time as well as the properties of the physical system, that is the Spring system. So a computational procedure simulates the imaginary proposition of Borges, implements the Monkey theorem and lets a machine to control text in a non linear manner as Italo Calvino implies. When the spring system has acquired balance then a sentence grammaticaly correct and potentialy semantically as well, has been produced. The designing procedure functions as a back and forth relation between the text and the space. If we perceive the nodes as the text itself and not as words then the text as a data particle acts as a component on its own in a wider network of information non linear configuration of data. relativity factors in a given space. Eventually they create a topography or a network. The properties and form of the topography created are up to the relativity of these points which is controlled factors inserted by the user and constitute the constraints of the parametric procedure. The spring system organizes the nodes in a spatial arrangemant and it provides the links between the different types of information. In the next chapter this zoom out of this procedure towards a wider network of data, that is the hypertext, will be further discussed.

SPRING CONTROLS REST LENGTH_200 DAMPING_0.995 MASS_1000 SPEECH CONTROLS FACTOR_NUMBER OF WORDS_56

WORDS LOADED appropriates surging breathalyses uncurved assibilate ballyragging counterbalanced weaponed

ensanguining belive wonnetizing redelivers criticizers inflatables ceacilians subtle

schizocarpous imperious alone festal insane treacly vixenishly trifid

subtle sarcous ahead belive the a an the

‘‘Imperious, schizocarpous criticizers uncurved treacly, vixenishly, the festal, insane, appropriate surging. Alone breathlyses.’’

‘‘A counterbalanced trifid, ballyragging, weaponed a defencelessly sarcous ceacilian. Hereat, the ensanguining inflatablesassibilate belive ahead.’’

400 600

‘The sublte redelivers sonnetizing’

TEST 3 SPRING CONTROLS REST LENGTH_200 DAMPING_0.995 MASS_1000 SPEECH CONTROLS FACTOR_NUMBER OF WORDS_71

WORDS LOADED interseptal,adj irresolute,adj protoplasmal,adj rhizophagous,adj idling,adj slumbrous,adj uninvited,adj quaggy,adj raising,adj exergonic,adj upgrade,adv afoot,adv crudely,adv

toughly,adv stepwise,adv imprecisely,adv incontinent,adv whereby,adv archly,adv athwart,adv palisade,n galvaniser,n underlinen,n millilitre,n removedness,n asperity,n

elusiveness,n advocation,n ritualise,n microbalance,n terminating,v lapidated,v propagandize,v reassemble,v overvalue,v poeticized,v illegalised,v overbidding,v involuted,v

hypostasize,v an,art the,art the,art an,art the,art an,art an,art an,art a,art a,art communizes,con allocating,con

barbequing,con aquaplaning,con wacky,con wasteful,con caravaning,con caponising,con whoreson,con vying,con its,pron anyone,pron someone,pron our,pron my,pron

her,pron your,pron himself,pron hers,pron nothing,pron

‘‘The archly stepwise involuted a barbequing thoughly, an athwart incontinent. Anyone reassemble nothing illegalised terminating your whoreson.’’

‘‘Her millilitre galvaniser ritualize an irresolute asperity, buaggy uninvited rhizophagous.’’

800

‘‘My palisade, allocating, caponising an vying someone afoot, a wacke upgrade the caravaning crudely, whereby imprecisely the wasteful.’’

1000

SPRING CONTROLS REST LENGTH_200 DAMPING_0.995 MASS_1000

WORDS LOADED

SPEECH CONTROLS FACTOR_NUMBER OF WORDS_114

limply,adv sternwards,adv traverse,adv sprightly,adv grossly,adv direly,adv adrift,adv ,adv beautifully,adv stammeringly,adv leftward,adv second,adv ywis,adv notwithstanding,adv almost,adv lankly,adv magistery,n supervising,n bactericides,n destructionists,n nightlong,n batrachian,n

‘‘Supervising the metronymic desinences, a triturator allocating him, each cohobated rockabilly collimated destructionists downstairs.’’

externalists,n atmometer,n melanomas,n metronymic,n myxovirus,n palliations,n mythologists,n dispensary,n rockabilly,n desinences,n columellas,n triturator,n aseity,n downstairs,n lixiviate,v prefabricates,v desulphurates,v reincreases,v scandalising,v dimidiate,v elongated,v nielloing,v

imitated,v memorizes,v sanitises,v solidify,v precipitates,v disseminate,v valorizes,v predicating,v reapportion,v militarize,v culminated,v demystifies,v the,art a,art an,art the,art the,art an,art the,art the,art the,art an,art

an,art a,art an,art a,art a,art an,art the,art the,art a,art whacky,con bastinaded,con confabulates,con circumscribing,con cohobated,con circumscribing,con caparison,con caramelize,con antagonized,con collimated,con allocating,con weathered,con apostrophise,con

commemorate,con cerebrating,con viceless,con wartlike,con circumcises,con weepy,con vasty,con what,pron you,pron everyone,pron anything,pron whose,pron its,pron everyone,pron each,pron they,pron each,pron everything,pron your,pron your,pron you,pron someone,pron

we,pron whose,pron him,pron what,pron they,pron

‘‘they scandalising the menopausal an stammeringly, prefabrication reincreases, terminably valorizes’’

800

1000

direly, anything not withstanding caramelise the confabulates you circumcises piecemeal, lankly they sprightly traverse what desulphurates its celebrating and you, everyone wartlike almost timely, grossly..

SPEECH CONTROLS FACTOR_NUMBER OF WORDS _120 5 SPRING CONTROLS REST LENGTH _ 250 DAMPING _ 0.997 MASS_ 1000

interaction distance < 100 interaction distance < 150 interaction distance < 200

speech topography Recording of the trajectory of the spring system during the balancing procedure, in every frame. Gradual formation of a topography creating a potential network of a range of qualities of interconnections between the different particle identities. A gradual complexity emerges and simulates the way a network develops and envelops based on certain relations between the given points. Dense areas are formed creating kernels inside the system. The graduality in the density of the colour illustrates how strong the connection between different network points is.

800

2000

800

2000

800

2000

800

2000

800

2000

0 newly generated AREA 3 low spring system balance/ undefined sentence

AREA 1 attrackinng AREA 2 causing its dispersion/ deconstruction of the speech concentration

800

2000

AREA 1 medium spring system balance/ medium density speech creation

800

2000

SPRING CONTROLS REST LENGTH_200 DAMPING_0.995 MASS_1000

SPEECH CONTROLS FACTOR_NUMBER OF WORDS_90

interaction distance < 100 interaction distance < 150 interaction distance < 200

speech topography Recording of the trajectory of the spring system during the balancing procedure, in every frame under different spring controls and frame size. The wider range of the space for the spring system to function and balance leads to the creation of more obvious kernel in the structure. The physical spring controls also help the network to form more directly according to the relative factors among the different parts of speech

900 0

900

2400

SPRING CONTROLS REST LENGTH_250 DAMPING_0.999 MASS_2000

TRANSFORMATION MODE: ΣΥΡΡΑΦΗ

SPRING CONTROLS REST LENGTH_250 DAMPING_0.999 MASS_2000

BRANCHING CONTROLS REGENERATION RANGE VERB PHRASE (1-5) NOUN PHRASE (1-10)

TRANSFORMATION MODE: INVISIBLE NETWORK

800

1200

800

1200

800

1200

800

1200

800 1200

changing, is being explored through dynamic procedures.

GAD_UCL GAD

THE BARTLETT SCHOOL

The intersistial space changes not only during its OF ARCHITECTURE // FREDERICtoMIGAYROU / ALISA ANDRASEK gradual forming but also according the different paragraphs translated.

REWRITTEN TEXT supervisor_LUKE PEARSON

In first place, the object produced out of the text is vased on specific parameters according to the grammatical aspect of the language used within the text. For, different surfaces are produced by different paragraphs. The overlaid surfaces of the paragraphsof thetext allow to test the intersistial space between them as well as the gradual deformation of the formif they are developping at the same time. The result of this gradual formation creates interesting spatial characteristics. The next experiment focuses mainly on the inner relation of the syntax of the text as well as the subjective interconnections that the individual reader would make during the reading. After setting those specific rules that represent the subject, the object, the verb and the conjuctions, the reader according to his unique understanding produces primary skeletons. Those skeletons constitute the structure of a woven surface that envelops around them and creates the surface object for every different paragraph. The whole investigation of these dynamic procedures of the form and the need to depict this constant change to a freezed result, led to a specfic designing process. According to this, the structure that emerges out of the translation of the reading transforms within itself under circumstances such as the folding of the object- paragraph to the next one or the movement of the viewport, dynamically changes. The dynamic drawing leaves traces which if reconnected produce a new object that represents the ‘‘scanning’’ of the transformation viewd from a specific angle. For, there is a constant back and forth process between the dynamic drawing of of the investigation and the capture of this transformation from a certain point of view creating new structures.

rent extrusion values for every part of speech create a 3 sequential paragraphs different extrusion values for every part of speech create a 3 sequential paragraphs ace surface

//GRADUAL TRANSFORMATION

POINT OF VIEW / PERCEPTION TRANSFORMATION_POINT OF VIEW SINCE THE TEXT NOW IS A THREE DIMENSIONAL OBJECT THE ‘READER’ WILLHAVE DIFFERENT PERCEPTIONS OF IT DEPENDING ON THE VARIOUS PERCPECTIVES OF OBSERVATION OR THE SCALE. THE READING NOW IS NON LINEAR. THE DRAWINGS TRY TO EXPRESS THE FACT THAT WHATS CHANGES IS THE POINT OF VIEW RATHER THAN THE OBJECT ITSELF.

THE OBJECT REMAINS STABLE, THE PERSPECTIVE VARIES.

PROCEDURE TRACES

PARAGRAPH ALTERATION TRANSFORMATION INVESTIGATION OF HOW THE OBJECT CREATED WOULD CHANGE IF ANY OF THE ELEMENTS OF THE SENTENCE WOULD MISS. HOW IMPORTANT THIS TRANSFORMATION WOULD BE AND WHICH WOULD BE THE STAGES OF THE ALTERED PARAGRAPH IF IT HAD TO BE DISTORTED IN ORDER TO RETURN TO THE NORMAL CONDITION

primary object-paragraph

paragraph missing sentence

missing sentence in the middle of the paragraph

missing explanatory sentence

Through the dynamic structures and the different approaches of the transformation a way of designing emerges. According to these designing process which oscillates between the reading of the text and the dynamic expression of its transformation options, a new structure is produced out of the freezed frames or traces of the dynamic sequence.

_physical models of the form

//INVESTIGATION OF HOW THE OBJECT CREATED WOULD CHANGE IF ANY OF THE ELEMENTS OF THE SENTENCE WOULD MISS. HOW IMPORTANT THIS TRANSFORMATION WOULD BE AND WHICH WOULD BE THE STAGES OF THE ALTERED PARAGRAPH IF IT HAD TO BE DISTORTED IN ORDER TO RETURN TO THE NORMAL CONDITION

SURFACE WEAVING A PARAGRAPH

SURFACE WEAVING SEQUENCE OF PARAGRAPHS

surface creation of the altered paragraph_stage 1

surface creation of the altered paragraph_stage 2

surface creation of the altered paragraph_stage 3

beggining of transformation

_new structure out of the freezed transformation sequence _point of view_a

_point of view_b

C+PH

SCROUMBELOS ARCHITECTS AND ASSOCIATES

NEW ARCHEOLOGICAL MUSEUM OF CHALKIS REFURBISHMENT OF THE TRADITIONAL BUILDING OF “ARETHOUSA” AND EXTENSION AS THE NEW ARCHEOLOGICAL MUSEUM OF CHALKIS [PARTICIPATION IN CONCEPT AND DETAILED DESIGN] collaborators Phoevos Scroumbelos Athanasiou Vassiliki

The project constitutes the design proposal to the Municipality of Chalkis for the refurbishment of the old Archeological museum as well as its extension through the addition of a new volume adgacent to the old one. It is this collaboration of the two volumes which makes this proposal unique and produces a dynamic form which coexists with the old traditional building by moderating its rigidity. The dialog between the materials of the old and the contemporary building coexist through the difference. The old stone symmetrical form is discretely accompanied by the contemporary zinc extention. The zinc material plays a crucial role in the entire design of the proposal and it is used thanks to its properties to be resistant to the erosion, relatively cost effective and especially highly formable. This formability of the zinc sheets allows the irregular volumes to be applied.

4256360

- = 3 5. 9 2

42μ

0/&μ"*0+

.4 24

42μ

2 9.

μ.

8 8.

42μ

- = 6 9.

5. 3 8

465820

465840

42μ

465880

4256340

2μ

-T

465900

4256320

4256300

4256280

465800

465860

O. T. 4 0 2

2/ " "

42Î¼

0/&Î¼"*0+

B- =

6. 3 2

- = 2 2 4.

42Î¼

4/ " N . . "

- = 22 .7

0 0.

" # 5 . + , )

/ 0&

5/ " T "

42Î¼

Î¼. 0 0

1/ " "

3 5 + 0

4256440

4256420

4256400

4256380

4. 1 40 9. =6 -B A

) 3 + ! + & / "

5 2

Î¼

)

//DETAILED DESIGN [SECTION/OLD_NEW BUILDINGS]

+17.145

67 +1'+ )#/ Î¼ "'

+14.775

+10.775

+14.48

)#/ Î¼') 1, * )#/ Î¼') 1, *

)#/ Î¼') 1, *

- 1/ ( *'+, 1,(31 ), $3Î¼ Î¼# $#%% 1&

( *'+, 1,(31 ), $3Î¼ Î¼# $#%% 1&

+12.545

67 +1'+ )#/ Î¼ "' +10.45 +10.195

10.19

/Î¼,*,%&Î¼ +& *'2,",Î¼ )#/ Î¼') 1, * ( *'+, 1,(31 ), $3Î¼ Î¼# $#%% 1&

)#/ Î¼') 1, *

( *'+, 1,(31 ), $3Î¼ Î¼# $#%% 1&

+8.475+8.475

67 +1'+ )#/ Î¼ "'

#-') *6!& Î¼# $ ** +,"#'3Î¼ +,6 *,6Î¼'+ ,6 1 -,6 Bond

8.52

7.09

67 +1'+ )#/ Î¼ "' +6.305

2.95

2.25 3.68

AKE STOSILENT PANEL B E E E T. A15001-2

4.30 4.01

4.10

4.47

0.27

2.80 2.53

4.05

B E E E T. A15003

( *'+, 1,(31 ), $3Î¼ Î¼# $#%% 1&

1.26

5.46

2.1.1

4.82

2.87

A12

5.15 Î¼#Î¼ / +& E.T.F.E. 1 -,6 vector foiltech

3.80

2.60

1.88

1.41

5.15 B E E E T. A15008

1.8

2.24

2.33

1.40

-* 01') 0- 1,6* /'01 0# %6!,0 + "

.1.2

B E E E T. A13001 0.20

0.20

0.10

B E E E T. A13006 0.20

33.84

#-') *6!& Îź# $ ** +,"#'3Îź +,6 *,6Îź'+ ,6 1 -,6 Bond

8.92 8.67

T13

T13 T13

#-') *6!& Îź# $ ** +,"#'3Îź +,6 *,6Îź'+ ,6 1 -,6 Bond

B E E E T. A12005-1 0

)* 0& 1%

B E E E T. 2005-10

B E E E T. A12005-10

)* 0& 1%

5.35

5.10 5.10 4.90

#Îź$ + 4 0)6/ "#Îź

4.40

), $3Îź *,6Îź'+ ,6 1 -,6 11000,Alumil

3.40

6 *,01 0', 1 -,6 11500s, Alumil

4.40

6 *,01 0', 1 -,6 11500s, Alumil

6!,0 + " ' 1/&1& B E E E T. A15004-5

T8a

.4.3

1.904

2.86

T10

P58

4.00

P57

2.45

P57

2.500

1.500

P62

2.500

3.00

4.00

4.30

T6 T7

1.300

4.1.2

B E E E T. A12005-10

T5a

0.400

1.50

9.5.3

0.40

0.35

0.27

0.40

B E E E T. A13002

B E E E T. A12005-10

0.35

0.25

317

/ Îź

11052

0.10

//DETAILED DESIGN_ELEVATION DETAIL [ZINC SKIN UNITS DETAIL]

İʌȚțȐȜȣȥȘ ȝİ ĳȪȜȜĮ ĮȞȠįİȚȦȝȑȞȠȣ ĮȜȠȣȝȚȞȓȠȣ ĲȪʌȠȣ Bond O4_1,835

O5_1,052

O4_0,756

O4_0,708

O5_1,005

O4_1,776

10,683

ȆȜȑȖȝĮ Įʌȩ ȘȜİțĲȡȠʌȡİıĮȡȚıĲȒ ıȤȐȡĮ ĲȪʌȠȣ Asco ȝİ ȪȥȠȢ ȜȐȝĮȢ 2,5İț țĮȚ įȚȐıĲĮıȘ 33,4mm țĮȚ 38,4mm ʌȜİȣȡȚțȐ ȕȚįȦȝȑȞȘ ıĲȘȞ țȐıĮ ĮȞȐ 60cm

ȣįȡȠȡȡȩİȢ

ǹ310_11_I

ȣįȡȠȡȡȩİȢ

ǹ310_8_II

ǹ310_10_I ǹ310_8_I

7,9

ǹ310_7_II

ǹ310_7_I

ǹ310_10_III

ǹ310_6_II

ǹ310_6_I

ǹ310_9_III ǹ310_5_II ǹ310_8_III

ǹ310_8_IV

ǹ310_4_II

ǹ310_5_I

ǹ310_7_III

ǹ310_7_IV

ǹ310_10_V

ǹ310_6_III

11,167

ǹ310_6_IV

ǹ310_3_II

ǹ310_9_V

ǹ310_5_IV

ǹ310_4_I

ǹ310_8_VI

ǹ310_8_V

ǹ310_5_III

ǹ310_7_VI ǹ310_7_V ǹ310_6_VI

ǹ310_4_IV

ǹ310_7_VII

ǹ310_4_III

ǹ310_2_II

ǹ310_3_I

ǹ310_6_V

ǹ310_3_III

ǹ310_5_VI

ǹ310_6_VII

ǹ310_4_VI

ǹ310_5_VIII

ǹ310_2_I

ǹ310_4_VII

ǹ310_5_V

ǹ310_1_II ǹ310_1_I

ǹ310_2_III

1,424

ǹ310_1_V

5,453

ǹ310_8_X

ǹ310_7_IX ǹ310_7_X

ǹ310_8_XI

ǹ310_6_X

ǹ310_6_IX

5,733 O4

ǹ310_7_XI

ǹ310_5_X ǹ310_6_XI

ǹ310_9_XII

1,424

ǹ310_1_VI

ǹ310_10_IX ǹ310_9_IX ǹ310_8_IX

ǹ310_2_VIII

0,526

7,259 ǹ310_2_VI

ǹ310_11_IX ǹ310_3_VIII ǹ310_3_VII

ǹ310_2_VII

1,424

ǹ310_4_V ǹ310_3_V

ǹ310_2_V

1,424

ǹ310_12_IX

ǹ310_4_VIII

6,256 1,424

ǹ310_3_VI

ǹ310_2_IV ǹ310_1_III

ǹ310_1_IV

ǹ310_5_IX

ǹ310_5_XI

ǹ310_4_X

ǹ310_8_XII ǹ310_9_XIII

ǹ310_7_XII

ǹ310_4_XI

ǹ310_8_XIII

ǹ310_6_XII

0,467

ǹ310_4_IX

ǹ310_5_XII

5,181

ǹ310_3_X

7,263

ǹ310_1_VII

4,988

5,051

ǹ310_3_XI

ǹ310_6_XIII

1,228

4,745

ǹ310_2_XI

1,228

ǹ310_8_XV ǹ310_7_XV

0,506

ǹ310_4_XIII

4,241

ǹ310_12_XVI

ǹ310_6_XV

ǹ310_1_XIII

ǹ310_10_XVI

ǹ310_5_XV

ǹ310_3_XIV

ǹ310_4_XV

ǹ310_9_XVI ǹ310_8_XVII

ǹ310_8_XVI

5,055

ǹ310_3_XIII ǹ310_2_XIII

ǹ310_7_XVII ǹ310_7_XVI

ǹ310_6_XVI

ǹ310_2_XIV

ǹ310_6_XVII

ǹ310_3_XV

ǹ310_9_XVIII ǹ310_8_XVIII

ǹ310_5_XVII ǹ310_7_XVIII

ǹ310_5_XVI

ǹ310_1_XIV

ǹ310_6_XVIII

ǹ310_4_XVI

ǹ310_2_XV ǹ310_3_XVI

ǹ310_4_XVII

ǹ310_5_XVIII

ǹ310_1_XV

ǹ310_7_XIX

ǹ310_6_XIX ǹ310_5_XIX

ǹ310_4_XIX

ǹ310_9_XX ǹ310_8_XX

ǹ310_3_XVIII

ǹ310_2_XVII

ǹ310_9_XIX

ǹ310_8_XIX

ǹ310_4_XVIII

ǹ310_3_XVII

ǹ310_2_XVI

ǹ310_1_XVI

ǹ310_7_XX ǹ310_6_XX

ǹ310_3_XIX

ǹ310_2_XVIII

ǹ310_9_XXI

ǹ310_5_XX

ǹ310_1_XVII ǹ310_2_XIX

ǹ310_8_XXI

ǹ310_7_XXI

ǹ310_4_XX

ǹ310_1_XVIII

ǹ310_6_XXI

ǹ310_1_XIX ǹ310_3_XX

ǹ310_11_XXII

ǹ310_5_XXI

ǹ310_4_XXI

ǹ310_10_XXII ǹ310_9_XXII ǹ310_8_XXII

ǹ310_2_XX ǹ310_3_XXI

ǹ310_1_XX

ǹ310_8_XXIII

ǹ310_7_XXII

ǹ310_2_XXI ǹ310_6_XXII ǹ310_1_XXI

ǹ310_9_XXIII

ǹ310_7_XXIII

ǹ310_6_XXIII

ǹ310_5_XXII

ǹ310_5_XXIII

ǹ310_4_XXII

ǹ310_7_XXIV ǹ310_4_XXIII

ǹ310_3_XXII

ǹ310_3_XXIII

ǹ310_2_XXII

0,599

ǹ310_2_XXIII

ǹ310_4_XXIV

2,448

ǹ310_3_XXIV

0,53

0,523

ǹ310_12_XXV

ǹ310_11_XXV

P30b

ǹ310_10_XXV

ǹ310_7_XXVI

ǹ310_6_XXVI

ǹ310_5_XXVI

ǹ310_4_XXVI

1,906

ǹ310_3_XXVI

ǹ310_2_XXVI

1,84

ǹ310_1_XXVI

P30a

ǹ310_8_XXV

ǹ310_7_XXV

ǹ310_6_XXV

0,528

0,487

P29

ǹ310_6_XXIV

ǹ310_5_XXIV

1,489

ǹ310_5_XXV

ǹ310_4_XXV

ǹ310_3_XXV ǹ310_2_XXV

0,542

2,363

ǹ310_1_XXIV

ǹ310_1_XXV

2,393

ǹ310_9_XXV

ǹ310_2_XXIV

2,2

3,044

İȝĳĮȞȑȢ ıțȣȡȩįİȝĮ ȝİ ȝİĲĮȜȜȩĲȣʌȠ ǹ310_7_XXVII

ǹ310_6_XXVII

ǹ310_5_XXVII ǹ310_4_XXVII

1,713

ǹ310_3_XXVII

0,596

1,625

ǹ310_2_XXVII

1,863

1,493

ǹ310_1_XXII

2,087 0,462

ǹ310_9_XV

ǹ310_5_XIV ǹ310_4_XIV

4,636

ǹ310_11_XVI

ǹ310_2_XII ǹ310_1_XII

4,318

ǹ310_6_XIV

ǹ310_5_XIII

ǹ310_3_XII

O5 ǹ310_1_XI

ǹ310_7_XIV

1,228

ǹ310_4_XII

0,547

ǹ310_3_IX

ǹ310_1_X

ǹ310_7_XIII

1,228 ǹ310_2_X

ǹ310_1_VIII

ǹ310_2_IX ǹ310_1_IX

ǹ310_1_XXIII

ǹ310_7_VIII

ǹ310_6_VIII

ǹ310_5_VII

ǹ310_3_IV

6,405

ǹ310_8_XXVIII

ǹ310_7_XXVIII

ǹ310_6_XXVIII

ǹ310_5_XXVIII

ǹ310_1_XXVII

ǹ310_4_XXVIII ǹ310_3_XXVIII

3,058

ǹ310_2_XXVIII

ǹ310_10_XXIX

ǹ310_6_XXIX

ǹ310_5_XXIX

ǹ310_4_XXIX

ǹ310_9_XXIX

ǹ310_8_XXIX

ǹ310_7_XXIX

ǹ310_1_XXVIII ǹ310_3_XXIX ǹ310_2_XXIX

ǹ310_5_XXX

ǹ310_1_XXIX

ǹ310_7_XXX

ǹ310_6_XXX

ǹ310_4_XXX ǹ310_3_XXX

1,225

ǹ310_2_XXX ǹ310_1_XXX

ǹ310_4_XXXI

ǹ310_3_XXXI

ǹ310_2_XXXI

ǹ310_5_XXXI

ǹ310_7_XXXI

ǹ310_6_XXXI

ǹ310_1_XXXI

ǹ310_1_XXXIII

ǹ310_4_XXXIII

ǹ310_3_XXXIII

ǹ310_2_XXXIII

ǹ310_5_XXXIII

P30a_1,2

ǹ310_7_XXXII

ǹ310_6_XXXII

ǹ310_5_XXXII

ǹ310_4_XXXII

ǹ310_3_XXXII

ǹ310_2_XXXII

ǹ310_1_XXXII

ǹ310_6_XXXIII

ǹ310_7_XXXIII

P30b_1,818

44,6 P30a_1,219 O5_0,73

P29_2,956

O5_0,769

P30b_1,833

P30a_1,8

P30b_3,31

P30a_1,815

P30b_3,325

2,4 A

ȣĮȜȠıĲȐıȚȠ ĲȪʌȠȣ Ȃ11500s, Alumil

ȣĮȜȠıĲȐıȚȠ ĲȪʌȠȣ Ȃ11500s, Alumil 5,316 Alumil ȣĮȜȠıĲȐıȚȠ ĲȪʌȠȣ Ȃ11500s,

6,146

2,4

11029

11030

P29_2,938

9,87

//DETAILED DESIGN_GROUNDFLOOR PLAN [NEW BUILDING] 1

7,20

8,63

0,10

+0.25 +9.65

ȊȆǹǿĬȇǿȅ ȆȁȊȃȉǾȇǿȅ ǼȊȇǾȂǹȉȍȃ Ȁǹǿ ȅȈȉȇǹȀȍȃ ĲȠȝȘZ

+0.25 +9.65

4.1.9

A206

ǻ1

+0.25 +9.65

+0.35 +9.75 345 D-08-S2-310/

A204

HMIȊȆǹǿĬȇǿȅȈ ȋȍȇȅȈ ȆǹȇǹȁǹǺǾȈ ǼȊȇǾȂǹȉȍȃ 4.1.8

D-63-S2-310/400

+0.35 +9.75

11022

ǻ1

ǹȞ/ȖȝĮ

T10

ǹ310

11023

Ǽ=108.15 m²

ĲȠȝȘĬ A208

+0.40 +9.80

P33

T7 P41 137 136

299 300

53 55

52 51

P43

5.1 ( 5.1.1-5.1.2-5.1.3) ǹȆȅĬǾȀǼȈ ǼȊȇǾȂǹȉȍȃ

+0.40 +9.80

48 51

Ǽ=309.14m²

ǻ1

T6 4.2.1

ǼȇīǹȈȉǾȇǿȅ ȄȊȁȅȊȇīǿȀȅ & ȆȁǼȄǿīȀ Ǽ=20.15m²

ǻ1

4.2.2 ǾȁǼȀȉȇȅȁȅīǿȀȅ ǼȇīǹȈȉǾȇǿȅ

L1 217 218

247 247

5.1.5

46 44

D-64-S1-140/250

248 249

46 44

+0.35 +9.75

P38

+0.35 +9.75

Ǽ=153.53 m²

59 62

D-62-S2-190/250

9.5.2

țȜȓıȘ 2%

472 472

11021

ȊȆǾȇǼȈǿǹȀǾ ǹȊȁǾ

ȋȍȇȅȈ ȂǼȁǼȉǾȈ ǼȊȇǾȂǹȉȍȃ Ȁǹǿ ǹȇȋǼǿȅ

+0.25 +9.65

țȜȓıȘ 2%

11024

ĲȠȝȘH

11025

Ǽ=90.90m²

ǻ2

P46 235 235

55 55 P46 246 246

66 66

P45 120 120

ĲȠȝȘī

55 55

5.1.4

ǹȞ/ȖȝĮ

ĬǾȈǹȊȇȅĭȊȁǹȀǿȅ Ǽ=22.80 m²

ǹ311

A202

țȜȓıȘ 2% Į

ȕȜİʌİ

Ȗȝ ǹȞ/

5 ǹ31

270 270

ǹ31

A15000

45 45

ǻ1

Ȗȝ ǹȞ/

ǻ1

C1Į

26,43

2.2.2 ǾȂǿȊȆǹǿĬȇǿȅȈ ǼȀĬǼȈǿǹȀȅY ȋȍȇȅY

ǹ32

+0.40 +9.80

1.6.2 ȆAPAȈKEYAȈTHPIO

T10

ǻ3

8,92

10,88

5 05 11

Ȇ.ĭ.

D-1

200 A20-

1.3 ȀǹȉǹȈȉǾȂǹ ȂȅȊȈǼǿȅȊ Ǽ=37.40m²

T4 +0.20 +9.60

Ǽ=8.03m²

Ǽ=205.64 m²

D-51-W1-90/220

1.6.1 Ǽ=14.20m² BAR ǻ3

ǻ1

7,59

Ȗȝ

1.6 ǹȃǹȌȊȀȉǾȇǿȅ - ǼȈȉǿǹȉȅȇǿȅ Ǽ=29.10m²

5 ǹȞ/

Ȗȝ

D-50-W1s-90/220

ǹȞ/

ǹ314

2.2.1 ȊȆǹǿĬȇǿȅȈ ǼȀĬǼȈǿǹȀȅȈ ȋȍȇȅȈ

+0.20 +9.60

ǹȞ/ȖȝĮ

ǻ1

D-49-G2 6Kg

ǻ.1.1

ǹȞ/ȖȝĮ

ǻǿǹǻȇȅȂȅȈ Ǽ=113.13m²

19,02

D-1

ĲȠȝȘǻ'

ĲȠȝȘǻ

A207

A203

/2 200 A21-

ǹ343

ǹ34

ǹȞ/ȖȝĮ

ǹ312

ǹ342

+0.20 +9.60

11042

Ǽ=34.33m²

+0.15 +9.55

ǹȞ/ȖȝĮ

ǹ324 ǹȞ/ȖȝĮ

1,20

ǹ300

ǹȞĮĲȠȜȚțȒ

ǻ1

D-09-S1-141/250

11054

0,30

11020

ǹ340

ǻ1

țȜȚıȘ 5%

+0.20 +9.60

+0.40 +9.80

C1 A ǹ326

ǹȞ/ȖȝĮ

11056

P04 0.975

P04

2.207

0.975

P04

2.207

0.975

2.207

P04 0.975

P04

2.207

0.975

2.207

P04 0.975

2.207

P04 0.975

2.207

D-24-W2-147.5/224 P11 1.09

1.70

330.00

2.173

6Kg

K.4.I. Ǽ=10.06m²

8.7 Ǽ=11.16m²

D-23-W1-130/270

0.959

P03

1.075

Ȇ.ĭ.

P10

D-12-A2-200/250

A.4.I Ǽ=3.92m²

6Kg

2.1.3 ȋȍȇȅȈ ȂȅȃǿȂȍȃ ǼȀĬǼȈǼȍȃ Ǽ=117.72m²

ǻ1 Ȋ

ǹ200

ǻǿǹǻȇȅȂȅȈ D-13-W2-210

T5 ĲȠȝȘǹ

ǻ.2.1 Ǽ=23.64m²

W2-211/485

Ȇ.ĭ.

ǺȁǼȆǼ ȁǼȆȉ. A_10.005

T10a 2.1.2.2 ȋȍȇȅȈ ȂȅȃǿȂȍȃ ǼȀĬǼȈǼȍȃ

ǹȞ/ȖȝĮ ǹ370

Ǽ=

9,475

ȣįȡȠȡȡȩİȢ

ǹ310_23_I

ǹ310_20_I

23,492

ǹ310_22_I

ǹ310_21_I

ǹ310_19_I

ǹ310_15_II ǹ310_14_II

ǹ310_16_I ǹ310_14_I

ǹ310_15_I

ǹ310_18_III ǹ310_17_III

ǹ310_13_II

ǹ310_13_I

ǹ310_16_III

ǹ310_12_II

ǹ310_12_I

ǹ310_17_II

ǹ310_16_II

ǹ310_18_I ǹ310_17_I

ǹ310_17_IV ǹ310_15_III

ǹ310_11_II

ǹ310_16_IV

ǹ310_14_III

ǹ310_10_II

Ȇĭ

ǹ310_15_IV

P01

ǹ310_9_II ǹ310_13_III

ǹ310_14_IV

ǹ310_12_III

1.20

ǹ310_20_V ǹ310_19_V

ǹ310_11_IV ǹ310_10_IV

ǹ310_16_VI

ǹ310_18_V

ǹ310_17_V

ǹ310_16_V

1.20

ǹ310_14_VI

1.20 ǹ310_13_V

ǹ310_13_VI

ǹ310_16_VII

ǹ310_15_VII

ǹ310_12_V ǹ310_12_VI ǹ310_11_VI

ǹ310_13_VII

ǹ310_10_VI

ǹ310_17_VIII

ǹ310_12_VII

I.A.04

ǹ310_16_VIII

ǹ310_11_VII

10.00s

ǹ310_15_VIII

ǹ310_10_VII

ǹ310_14_VIII

ǹ310_21_IX

ǹ310_13_VIII

ǹ310_9_VII ǹ310_8_VII

+2.30 +2.90

D42-S1-1

ǹ310_14_VII

ǹ310_11_V

ǹ310_9_VI

+2.30 +2.90

L 01

ǹ310_15_VI

ǹ310_15_V

ǹ310_14_V

ǹ310_9_IV

+2.30 +2.90

O 01

ǹ310_12_IV

ǹ310_11_III

ǹ310_22_V

ǹ310_21_V

ǹ310_13_IV

Bȁ. ȁEȆT. ȁ.14.01

ǹ310_20_IX

ǹ310_19_IX

ǹ310_12_VIII ǹ310_18_IX

ǹ310_17_X

ǹ310_17_IX

5,485

ǹ310_11_VIII

ǹ310_10_VIII

ǹ310_9_VIII ǹ310_8_VIII

ǹ310_16_X

ǹ310_16_IX

ǹ310_15_X

ǹ310_15_IX ǹ310_14_X ǹ310_14_IX

ǹ310_12_X

ǹ310_14_XI

ǹ310_11_X

ǹ310_16_XI

ǹ310_15_XI

ǹ310_18_XII

ǹ310_13_XI

ǹ310_10_X

ǹ310_9_X

ǹ310_18_XI ǹ310_17_XI

ǹ310_13_X

ǹ310_13_IX

ǹ310_17_XII

ǹ310_12_XI ǹ310_16_XII

ǹ310_11_XI

ǹ310_15_XII

ǹ310_10_XI ǹ310_14_XII

ǹ310_9_XI

ǹ310_17_XIII

ǹ310_16_XIII

ǹ310_13_XII ǹ310_14_XIII

ǹ310_12_XII

ǹ310_15_XIII

ǹ310_11_XII ǹ310_13_XIII

ǹ310_10_XII

ǹ310_16_XIV

ǹ310_15_XIV

ǹ310_12_XIII

ǹ310_14_XIV

ǹ310_11_XIII

ǹ310_13_XIV

ǹ310_12_XIV

ǹ310_10_XIII

ǹ310_14_XV

ǹ310_13_XV

ǹ310_11_XIV

T8_1

ǹ310_12_XV

ǹ310_10_XIV ǹ310_11_XV

ǹ310_9_XIV

ǹ310_8_XIV

ǹ310_17_XVI

ǹ310_16_XVI

T10

ǹ310_15_XVI

T11 ǹ310_14_XVI

ǹ310_10_XV

T12

ǹ310_14_XVII

ǹ310_13_XVII ǹ310_12_XVII ǹ310_13_XVI

0,6

T13

ǹ310_11_XVII

ǹ310_10_XVII

5,1

0,6

ǹ310_14_XVIII

ǹ310_13_XVIII

ȈHMEIȍ * İȓȞĮȚ Į . İȓȞĮ

ǹ310_12_XVIII ǹ310_11_XVIII

ǹ310_10_XVIII ǹ310_9_XVII

ǹ310_13_XIX ǹ310_12_XIX

ǹ310_11_XIX

ǹ310_10_XIX

İȝĳĮȞȑȢ ıțȣȡȩįİȝĮ ȝİ ȝİĲĮȜȜȩĲȣʌȠ 270ȋ240 ǹ310_13_XX ǹ310_12_XX

ǹ310_11_XX

ǹ310_10_XX

3,1

ǹ310_11_XXI

ǹ310_10_XXI

ǹ310_13_XXII

ǹ310_12_XXII

ǻ ǹ310_11_XXIII

ǹ310_10_XXIII

ȝİĲĮȜȜȚțȒ ıȣȡȩȝİȞȘ șȪȡĮ D-07-S1s-510/415

ǹ310_10_XXIV

ǹ310_9_XXIV ǹ310_8_XXIV

ǹ310_13_XXV

ǹ310_14_XXV

ȝİĲĮȜȜȚțȒ ĮȞȠȚȖȩȝİȞȘ șȪȡĮ

4,1

P31b

P31a

ǹ310_9_XXVI

ǹ310_8_XXVI

ǹ310_9_XXVII

ǹ310_8_XXVII

ǹ310_12_XXVIII

ǹ310_10_XXVIII

ǹ310_9_XXVIII

3,59

İȝĳĮȞȑȢ ıțȣȡȩįİȝĮ ȝİ ȝİĲĮȜȜȩĲȣʌȠ 270ȋ240

3,45

İȝĳĮȞȑȢ ıțȣȡȩįİȝĮ ȝİ ȝİĲĮȜȜȩĲȣʌȠ 270ȋ240

270ȋ240

ǹ310_13_XXVIII

ǹ310_11_XXVIII

ȈKAPǿĭǾ

MEȁETH

ǹ310_12_XXIX ǹ310_11_XXIX

EIǻIKH A

APXIȉǼK ǹ310_9_XXX

ǹ310_8_XXX

ǹ310_10_XXX

ȈTATIKH ǹ310_9_XXXI

ǹ310_8_XXXI

ǹ310_10_XXXI

HȁEKTPO MEȁETH:

ǹ310_8_XXXII

2,563

0,7

0,251

0,7

ǹ310_10_XXXIII

ǹ310_9_XXXIII

ǹ310_8_XXXIII

0,4

ȉIȉȁȅȈ Ȉ

ǹ310_9_XXXII

0,23

0,331

3,086

0,708

ȣĮȜȠıĲȐıȚȠ ĲȪʌȠȣ Ȃ11500s, Alumil

698

3,794

0,1

KȍǻIKȅȈ Ǽ

2,4 A

5,665

8,63

ǼȁǼīȋȅǿ -

TMHMA ǹȃǹȆȉȊīȂǹȉȅȈ ȃȅȉǿǹȈ ȅȌǾȈ

1 A 310a

ĲȠȝȘ E

9.5.1

110

4-W D-8

ǻ3 T4

T10

T6 T5a

T5a

T8a T8a

T5a

T3a

D-58-W1-75/180

D-53-W1-110/250 D-54-W1-110/250

11051

T8_1

ĲȠȝȘī A202

ǻ4

T10

+0,35

+0.40 +9.80

T10

T8a

P20-21 235 236

45 48

T4a

6Kg

T8_1

ǻ4

īȇǹĭǼǿȅ ǼȆǿȈȉǾȂȅȃǿȀȅȊ ȆȇȅȈȍȆǿȀȅȊ Ǽ=28.89m²

Ǽ=19.66m²

ǻ1

7.4

T3a

0 00/22

2,97°

D-66-S2-195/250

1-1

7.4.1 īȇǹĭǼǿȅ APXITEKTONȍN

0 00/25

D-68-S2-230/250

4-W

2-2

D-7

ǻ2

9-A D-6

Ȇ.ĭ.

110

T10

0 00/22

1-1

ǹȆȅĬǾȀǾ Ǽ=7.25m² 20

3.05

ǻ.4.3

+0,35

0/2

4.10

Ǽ=32.64m²

Ǽ=553.84m²

+0,30

250

T3a

3-W D-7

T5a D-61-W1-75/180

9.3 P23

145

ǻ4 +0.40 +9.80

T4a

0 70/25

ȈȉǹĬȂǼȊȈǾ ǿ.ȋ. ȆȇȅȈȍȆǿȀȅȊ

Ǽ=27.03m²

5.2.2.1

1-9

2,24°

2-1

0/2

ǻ3

0-W D-7

P61

3.05

ǻǿǹǻȇȅȂȅȈ

ǻ.4.2

6-A D-0

0 50/22

+0.40 +9.80

250

D-22-A2-190/250

ȖȝĮ ǹȞ/

1-1

ǹ320

P61 4.10

ǹ31

250

0 00/22

1-W D-7

1-9

7.6 ȆǹȇǹȈȀ. Ǽ=5.53m²

P60

+0.35 +9.75

32 A

ǹȞ/ȖȝĮ

ǻǿǹǻȇȅȂȅȈ Ǽ=24.52m²

ǻ1

P23

145

1-1

ǻ2

110

7.0 EIȈOǻOȈ Ǽ=4.60m²

T10

T8_1 T8_1

T8_1 T10

T8_1

T10

T4a 1 ǻ.7. ȂȅȈ ȇȅ ² ǻǿǹǻ .92m Ǽ=25

19 ǹ3

4.1.3

0,87°

0/220

210

6-W D-7

20 /2 1-90 -W 78 D-

1-9

T10

9-W D-7

20 /2 1-80

T3a

0/220

T4 2-W D-7

ǻ4 P58

ǹ317

ǹȞ/ȖȝĮ

+0.40 +9.80

1-9

80-W D-

1-W D-8

00/22

P24

7.1 ȊȆȅǻȅȋǾ - īȇǹȂȂǹȉǼǿǹ

țȜȓıȘ 2,2%

T8_1a

T10a

ǻ2

64 65

20 /2 1-80 -W 83 D-

0/220

1-1

ǼȇīǹȈȉǾȇǿȅ ȈȊȃȉǾȇǾȈǾȈ ȆǼȉȇǹȈ Ȁǹǿ īȁȊȆȉȍȃ

150

ǻ2 P50-51

3.00

200

3.00

1.9 ȆPOĬAȁAMOȈ Ǽ=3.20m²

ǹȞ/ȖȝĮ

P09

210

ǻ1

+1.20

210

2.323

1.9.1 ĬǹȁǹȂȅȈ ǼȁǼīȋȅȊ (CONTROL ROOM)

2.456 1.00

10,75 D-43-Ws1-320/430

D-42-Ws1-320/430

ǹȞ/ȖȝĮ

T10

0.98

ǻ1

P05

2.12

0.98

2.12

ĲȠȝȘǻ'

3,656

T10

2.456

P07

1.00

0 95/32

2.12

Ǽ=89.40m²

0.98

P05

18,19

P05 0.98

2.12

P05 0.98

A207

ĲȠȝȘ

A203

11006

P05

110

2-1

+0.20 +9.60

ǻǿǹǻȇȅȂȅȈ

11043

țȜȚıȘ 5%

11047

ǻ.1.2 A

ǹ322

11044

ǹȞ/ȖȝĮ

5-A D-0

T10

,79 °

Ȇ.ĭ.

,81 °

0.99

6Kg

ǹ351

T5 T10

P07

T2 2.173

ǹ312

ȖȝĮ ǹȞ/

+0.40 +9.80

ǻ1

+0.40 +9.80

ǹȞ/ȖȝĮ

ǹ303

ǹ32

ǹ321

ǻ4 T12

11048

2.3 Ǽ=136.24m²

+0.40 +9.80

ǻȣĲȚțȒ

P08

110

1.9.1.1 ĬǹȁǹȂȅȈ ǼȁǼīȋȅȊ (CONTROL ROOM) Ǽ=6.51m²

2-228/220

+0.20 +9.60

D-44-W1-100/220 ǹȞ/ȖȝĮ

11049

ĲȠȝȘȀ ǹ209

ǹ350

ǻ4

11046

ǹȞ/Ȗȝ

Ǽ=6.15m² A

ǻ1

ǹ352

ȋȍȇȅȈ ȆǼȇǿȅǻǿȀȍȃ ǼȀĬǼȈǼȍȃ

ǹȞ/ȖȝĮ

ǹǿĬȅȊȈǹ ǼȀȆǹǿǻ. ȆȇȅīȇǹȂȂǹȉȍȃ

C2a

45 48

T12

0.984

T12

2.323

T12

0.984

2.323

0.984

306 307

0,35

P20-21

P09

11037

P09

+0.40 +9.80

1.8 ȋȍȇȅȈ ȆȅȁȁǹȆȁȍȃ ȋȇǾȈǼȍȃ Ǽ=76.49m²

ǹ353

D-45-W1-100/220

T10

P17

3,50

460

ǹ312

P18

6,75

3.00

P17

100

D-46-W1-105/250

T12

D-48-A2-200/300

P56

11034

300

11040

P55

ǹȞ/ȖȝĮ

P54

D-47-W1-100/220

D-52-A1-110/300

P52

1 04 11

11038

11039

353 353

150

+0.22 +9.52

150

250 D-21-A1-130/

Ǽ=14.54m²

5-W D-7

P57 40

4.1.5 īȇǹĭǼǿȅ ȈȊȃȉǾȇǾȉȍȃ Ǽ=12.74m²

ȋȍȇȅȈ ȆǹȇǹȂȅȃǾȈ ȆȇȅȈȍȆǿȀȅȊ

ǻ4

+0.22 +9.52

ǻ1

11052

T10a

T3a 6.1

210

T8_1

ǻ4

Ǽ=5.27m²

Ǽ=12.90m²

9.5.3 ȊȆǾȇǼȈǿǹȀǾ ǹȊȁǾ ǹǿĬȇǿȅ Ǽ=101.16m²

250

ǻ1

D-55-W1-120/250

ǻǿǹǻȇȅȂȅȈ

ȁȅīǿȈȉǾȇǿȅ

0 30/25

P57

țȜȓıȘ 2,2%

P62 190

P25

7.3 īȇǹĭǼǿȅ ǻǿǼȊĬȊȃȉǾ Ǽ=15.30m²

ǻ3

20 /2

ǹ318

T8_1a

ǻǿǹǻȇȅȂȅȈ Ǽ=26.12m²

/Ȗȝ ǹȞ

ǻ.6.1 ǻǿǹǻȇȅȂȅȈ Ǽ=6.62 m²

150

D-57-W1-100/220

D-56-W1-100/220

ǹȞ/ȖȝĮ

P58

ǻ2

ǻ.4.1

6.2 ȋȍȇȅǿ ȊīǿǼǿȃǾȈ Ǽ=10.82m²

6.3 W.C. ǹȃǻȇȍȃ Ǽ=10.39m²

4.1.4 ǼȇīǹȈȉǾȇǿȅ ȈȊȃȉǾȇǾȈǾȈ ȌǾĭǿǻȍȉȍȃ Ǽ=82.97m²

T3a

1-100 -W 77 D-

ǻ.7.2

1-1

ǺȁǼȆǼ ȁǼȆȉ. A_16.020

T3a

ȀȁǹȈ

Ǽ=1.44m²

8-A D-1

W.C. īȊȃǹǿȀȍȃ

110

150

D-59-W1-75/180

ǻ3 T3a

40 110

P59 130

11053

D-60-W1-75/180

T4a

1-9

P57 P59 130

D-20-A1-130/250

P57 40

T3a

T10

7.8.1

7.8

7.2

D-19-A1-130/250

+0.40 +9.80

W.C.

a ǻ3 T4W.C. ǹȃǻȇȍȃ

Ǽ=3.55m²

D-65-S2-230/250

T8_1

ǻ4

Ǽ=21.03m²

T3a

6Kg

ǻ3

ǻ2

4.1.1

ǹǿĬȅȊȈǹ ȈȊȈȀǼȌǼȍȃ-ǺǿǺȁǿȅĬǾȀǾ 7.5 Ǽ=26.73m²

T4a

W.C. 7.7.1 Ǽ=1.48m²

ǻ3 7.9 ǹȆȅĬǾȀǾ ȀǹĬǹȇ. Ǽ=1.58m²

T4a

ǼȇīǹȈȉǾȇǿȅ ȀǼȇǹȂǿȀȍȃ Ȁǹǿ īȊǹȁǿȃȍȃ ǼȊȇǾȂǹȉȍȃ

ǻ1

ǻ2

Ȇ.ĭ.

ǺȁǼȆǼ ȁǼȆȉ. A_16.010

ǼȇīǹȈȉǾȇǿȅ ȈȊȃȉǾȇǾȈǾȈ ȂǼȉǹȁȁǿȀȍȃ ǹȃȉǿȀǼǿȂǼȃȍȃ Ǽ=21.17m²

T3a

4.1.7 ǹȇȋǼǿȅ ĭȍȉȅīȇǹĭǿȍȃ & ȈYNTHPHȈHȈ Ǽ=12.26m²

0/400 D-67-S2-20

ǻ1

D-87-W1-80/220

. Ȇ.ĭ

0/250 D-89-S1-12

Ǽ=96.89m²

2-W D-8

4.1.2

T5a

6Kg

ǻ.5.1 ǻǿǹǻȇȅȂȅȈ

0/220 D-88-S2-19

+0.40 +9.80

0 20/22

+0.40 +9.80

T4 7.7 W.C. īȊȃǹǿȀȍȃ ȋȍȇȅǿ ȊīǿǼǿȃǾȈ Ǽ=3.67m²

2,61°

T4a

1-1

/400 D-07-S1s-500

T4a

T5a

7.10 Ǽ=4.33m²

0/220 D-86-S2-19

307 308

+0.40 +9.80

0/25 1-20 -A 85 D-

11027

11026

+0.35 +9.75

9 P28-2 46 48

53 54

T10

380 380

ǹ209

52 53

AMK

P31 60 60

țȜȓıȘ 2%

46 48

11029

11028

țȜȓıȘ 2%

P29 304 305

ĲȠȝȘȀ

P30Į 59 61

P30b 120 120

6,00

5,19

ǹ205

Ǽ=233.36m²

ǹ201

ĲȠȝȘǺ

ǹ301 ȃȩĲȚĮ

YȆǾȇǼȈǿǹȀǾ ǹȊȁǾ

5,60

+0.25 +9.65

11030

KȁIMAKA 1:20

8,53

ȊȆȅīȇǹ

11026

11027

11028

8,583

T8_1

2,4

11025

2,4

P05

2.12

0.98

P05

2.12

0.98

P05

2.12

0.98

P05

2.12

0.98

2.12

Ȍ2

12 13 14

T4a

9 10

A.1.I

A.2.I Ǽ=3.76m²

Ǽ=3.76m² ǺȁǼȆǼ ȁǼȆȉ. A_10.000

K.2.I Ǽ=8.64m²

1.00

2.136

8.6 Ǽ=11.07m²

P06

6Kg

Ȇ.ĭ.

Ǽ=10.30m²

T1 +0.40 +9.80

Ǽ=0.71m²

T1 Ȉ.2.I SHAFT

T2 11

T1 A.3.I Ǽ=3.78m²

4 3

13 2 14 1 15

1.1 ȋȍȇȅȈ ȀȊȇǿǹȈ ǼǿȈȅǻȅȊ

2.1.2.1 ȋȍȇȅȈ ȂȅȃǿȂȍȃ ǼȀĬǼȈǼȍȃ Ǽ=65.40m²

ǺȁǼȆǼ ȁǼȆȉ. A_10.005 Į

0,294

Ȉ.1.I

T4a

D-38-W1-110/220

+0.40 +9.80 9 10

K.3.I

D-04-W2-212/4

T4a

ǹȆȅĬǾȀǾ ȀǹĬǹȇ.

T4a

ȆȇȅĬǹȁǹȂȅȈ ȋȍȇȅǿ ȊīǿǼǿȃǾȈ KȅǿȃȅȊ ǺȁǼȆǼ ȁǼȆȉ. ǻ3 1.7 A_16.00 Ǽ=15.77m² 0

+1.78 +9.80

K.1.I Ǽ=8.64m²

D-40-W2-210

D-26-W1-90/220

D-27-W1-110/220

D-39-W1-110/22

1.7.4 =2.09m² ǻ3

ǻ3 T4a

Ǽ=1.61m²

ǻ3

T4a

Ǽ=4.11m²

1.5 T1 ȆȇȍȉǼȈ ǺȅǾĬǼǿǼȈ Ǽ=8.76m²

1.7.3

D-25-W1-97.5/220

SHAFT

D-41-W2-147.5/224

ĲȠȝȘǹ ǹ200

CTRL_SPACE LAB. A101 URBAN BLOCK competition Moscow 2010 DOMES International Review of Architecture, Awards 2013, Ranked 4th, Category ‘Best Project of the years 2010-2012.’

Jurors: Iñaki Ábalos, Harvard University, Cambridge, MA., Alberto Ferlenga, Università IUAV Kenneth Frampton, Columbia University, New York. collaborators Dr. Yannis Zavoleas (principal) Dampasi Stephanie Papadopoulou Athina Sideri Anna

//NESTED LIVINGROOMS

In the frames of a new city project in south Moscow, a new urban block structure attempts to reconcilliate the city scale and the human scale. Using the notions of spesificity and flexibility the proposal refers to an expanded network of nested living rooms. Specificity refers to the manipulation of the house unit, whereas flexibility refers to the order of the general scheme, conveyed by a system. Specificity and flexibility respond to two very different scales, the human and the block. Pursuing the ideal house often results in a weak management of the whole, while giving priority to the block may end up putting aside issues pertaining to the small scale. The design proposes a space of intermediate scale, an adaptor bridging the qualities of the general scheme to those of the house unit. This space adaptor brings together the neighborhood of four houses, functioning as a shared living room (marked as yellow). Another version of the space adaptor referring to a group of 4 to 6 neighborhoods forms a wider living room (orange). The total of 15 of these groups diffuses into the main yard (red), being the common living room of the total block.

//ENVELLOPING THE CITY SCALE

_SCALE_A //THE NEIGHBORHOOD

unit/group of 4 appartments

_SCALE_B //GROUP OF NEIGHBORHOODS neighbourhood of 4 groups

_SCALE_C //URBAN BLOCK_ CIRCULATION

//SYSTEM PROPERTIES

//3

//2

//AGGREGATION OF NEIGHBORHOODS

// BLOCK LIVINGROOM

//3

circulation filter

_GROUNDFLOOR PLATFORM

_LONG AXIS SECTION

SECTION

_URBAN BLOCK

_TYPICAL PLANS

LONG AXIS ELEVATION

NTUA

NATIONAL TECHNICAL UNIVERSITY OF ATHENS

studio 6 NTUA July 2007

supervisor professor Eleni Maistrou

LAVRION // A MINE PATH An extruded contour forms, in this small scale mine museum, a path beneath and underneath the ground. The direct conceptual connection between the mines and the earth leads to this form that seems to reveal a lost history over the ground. A narrow pathway simulates the structure of the Lavrion mines. A constant change of space properties organises an exhibition space which could function without any exhibit. Dark narrow spaces are suceeded by lighted areas open to the view. The old mine remnants create the perfect scenery around this information pavillion and constitute the view - exhibition by the window-â&#x20AC;&#x2122;screensâ&#x20AC;&#x2122;.

CONCEPTUAL PROCESS

_GRADUAL LANDSCAPE EXTRUSION

//TOWARDS A CONTROLLED LANDSCAPE EXTRUSION

+FORM

_a03

+CONTOURS EXTRUSION

_a02

extr C

extr D

+2.85

+2.15

+LANDSCAPE +1.75

extr B

+1.15

extr A

_a01

MIN

VRIO AL LA

OLD

N CIT

3.45 3.30 3.15 3.05 3.95 3.85 3.75 3.65 3.55 3.45 3.35 3.25 3.15

_GRADUAL LANDSCAPE EXTRUSION

1.1

2.1

2.2

2.4

2.3

2.5

2.7

2.6

2.8

3.1

3.0

2.9

3.2

6.3

_b01 3.3

ENTR

RDS C

TOWA

E RE MIN

ISCE NT

OLD MINE FACTORY

H AT EP MIN

OLD MINE RESIDENCES

_b02

_FUNCTIONAL DISTRIBUTION

_FOLDED LANDSCAPE

MINE PATH ENTRANCE // CORTEN_MATERIALISED EXTRUSION OF THE UNDERGROUND OLD MINES

//FORMALISED EXTRUSION

//SECTION UNDERGROUND PATH

+2.15

+1.15

OLD

MIN

E RE

MIN

ISCE

+SEA LEVEL

//PLAN

1.1

5 2.2

2.1 5

2.3

5 2.5

2.4

2.6

5 2.7

2.8

2.9 5

5 3.1 5

3.0

3.2

3.3 5

6.3 5

3.45 3.30 3.15 3.05 3.95 3.85 3.75 3.65 3.55 3.45 3.35 3.25 3.15

MINE PATH PROPERTIES // UNDERGROUND AMBIENCE, PATH PROPERTIES

_SPATIAL CHARACTERISTICS

_A01

_A02

NTUA

NATIONAL TECHNICAL UNIVERSITY OF ATHENS

studio7 // NTUA

project

February 2008 supervisor assistant professor Ariadni Vozani collaborators Stephanie Dambassi Anna Sideri

FOLDED CITY // LIBRARY BUILDING

A cultural building in the heart of Athens is unfolded among the solid blocks of the city. The strict orthonormality of the city grid is condensed into a city void and a new structure is created. This structure seems to envelop all the city in one new organism which never ceases being formed. A folded surface begins from the underground and continues being developed. An event occurs in this city void by the forces coming from the city grid. This event - structure offers a unique mobility in the consolidated city, through constant transformation of the surface -ribbon. This ribbon is transformed by the city poles, in other words the access and the city/building relation, the possible pedestrian circulation and the carsâ&#x20AC;&#x2122; accessibility. Even though this folded surface is considered as dense and solid, the transparency is used to convert this ribbon to a light skin for the building. The building becomes even more â&#x20AC;&#x2DC;constantly transformedâ&#x20AC;&#x2122; by the transparent and difficult to difine the its boundaries, its beginning and its end.

victoria square

ped e

stri a

np ath way

pedion tou areos park

to om

onia s

quare

//connection with the city

//form distortion

//units arrangement

open air cinema

central atrium

library reading rooms

auditorium

//folding orthonormality of the city in the given void

20.00 - 0.00

0.00 - 02.00

12.00 - 16.00

16.00 - 20.00

8.00 - 12.00

16.00 - 20.00

12.00 - 16.00

8.00 - 12.00

μεγάλης κλίμακας χρήσεις

μουσείο της πόλης των Αθηνών

city university

μουσεία - χώροι πολιτιστικού ενδιαφέροντος

μουσείο Παλαιά Βουλή θέατρο Παλλάς ξενοδοχεία

θέατρο Αθηνών χώροι εκπαίδευσης

οικοδομικό τετράγωνο μελέτης

ξενοδοχείο Μεγάλη Βρετάνια

πλατεία Καρύτση

εστίαση - αναψυχή

goodys

χώροι νυχτερινής διασκέδασης

cafe περιοχή γραφείων

ισόγειο Attica χώροι εστίασης

grab and go οικοδομικό τετράγωνο μελέτης

δίκτυο στοών

παρόδιες στοές

στοές στα εσωτερικά των οικοδομικών τετραγώνων

εμπορικό κατάστημα Zara

εμπορικό κατάστημα Hondos εμπορικές χρήσεις

εμπορικό κατάστημα Attica

εμπορικό κατάστημα Public

hondos

attica

μεσαίας τάξης καταστήματα

public

zara

υπερτοπικά πολυκαταστήματα

συνοικιακό εμπόριο

κοσμηματοπωλεία

οικοδομικό τετράγωνο μελέτης

δίκτυο στοών

παρόδιες στοές

στοές στα εσωτερικά των οικοδομικών τετραγώνων

γύρω κτίρια

0.00 - 02.00

20.00 - 0.00

γύρω κτίρια

//SEPTEMVRIOU STREET VIEW

//IOULIANOU STREET VIEW

C+PH

SCROUMBELOS ARCHITECTS AND ASSOCIATES

ALTERMALL COMPETITION MARCH 2012

collaborators Vassiliki Athanasiou Anna Sideri Andriana Koutalianou Phoevos Scroumbelos

_ΣΤΟΑ_altermall Τhe proposal places the altermall in the historical centre of Athens, Greece and activates the ‘hidden’ urban voids of the urban blocks. Those urban voids consist of the “stoa” - commercial arcades which in the Greek urban structure are corridors in the ground floor of the buildings with shops on both sides, and the unbuilt open space within the urban blocks (akaliptos). In the midst of the economic crisis and the general crisis of the city centre , the commercial function has dramatically decreased recently, a fact that affects even more the commercial arcades which are almost deactivated with the largest percentage of their shops being closed. The akaliptos, respectively, have remained unexploited even though they could function as small green and public points in the middle of the urban blocks. Therefore, what is suggested is a network of those urban building voids which creates a solid building within the unrevealed city whose shell is articulated by already existing spaces. The previous commercial function of the arcades and the unexploited space of the akaliptos and parts of the pedestrian roads are transformed in a different mall which provides the city with a new public and green area penetrating it. Among all the inactive urban arcades and akaliptos, a group of those which connect the central Syntagma square (House of Parliament) with the Monastiraki square (old Athens city centre), are considered as the most appropriate to compose a hidden building, the Altermall. This area, between Syntagma and Monastiraki square is the central point of the city fabric and presents an absence of such public space. The proposed building, therefore, constitutes an alternative hidden path in between the two main squares, parallel to the most commercial street of Athens, Ermou Street. As concerns the interior of the building, the enclosed spaces of the arcades and the urban building voids interact along the path. The constant continuity of the levels composing the building allows an unfolded pedestrian and cyclists movement through the interior spaces of the edifice. Activities such as workshops, library, reading areas, rest areas, auditorium, multi-uses areas, administration plus services, city information, seminar classes are placed throughout the enclosed spaces and in multiple levels while the green park, the pic-nic area and the sports zone are placed within the urban building voids. Key element of the design is a mesh that runs along the built and unbuilt parts of the edifice. This structural mesh works as a roof of the building tactically controlling natural lighting and air flow; at the same time acts as a framework for the strategically proliferated reflectors which transfer natural light through the existing building shafts, which therefore act as light tubes. The stoa altermall is not to be placed in an autonomous building type within some part of the city but comes to regenerate and to redefine the city’s negative-unbuilt spaces of the urban blocks, reverting them to solid edifice.

//EXPLODED AXONOMETRIC VIEW OF THE CONNECTED URBAN VOIDS

CREATING A SOLID SPACE THROUGH THE EXISTING CONDITION

Inprovides the midst thewith economic crisis and the general crisis of theit.city centre , the the inactive commercial function has dramatically theofcity new public andthe green areacontrolling penetrating Among all urban arcades and akaliptos, a As concerns interior of the building, enclosed spaces arcades andand the urban building voids interact along structural mesh works as of aa roof of the building tactically natural lighting and air flow; atbuilding the same time acts as and the unexploited space of the akaliptos parts of the of pedestrian roads arethe transformed in a different mall As concerns thethe interior the building, theand enclosed spaces ofthe the arcades urban voids interact along decreased a fact that affects even more the commercial arcades are almost deactivated with thewhich largest of recently, those which connect the central Syntagma square (House ofanwhich Parliament) with theand Monastiraki square (old the path. The constant continuity of the levels composing building allows unfolded pedestrian cyclists moveagroup framework forwith the strategically proliferated reflectors whichthe transfer natural light through the existing building shafts, provides the city a new public and green area penetrating it. Among all the inactive urban arcades and akaliptos, a the path. The constant continuity of the levels composing the building allows an unfolded pedestrian and cyclists movepercentage their being respectively, have remained unexploited even though they could Athens cityofcentre), are tubes. considered as The the akaliptos, most appropriate compose a hidden building, the Altermall. This area, ment through theasshops interior spacesclosed. of the edifice. Activities such as to workshops, library, reading areas, rest areas, auditowhich therefore act light group of those which connect theofcentral Syntagma square (House of Parliament) with the areas, Monastiraki square (old ment through the interior spaces the edifice. Activities such as workshops, library, reading rest areas, auditofunction as small green and public points in the middle of the urban blocks. between Syntagma and Monastiraki is the central point of thesome city fabric anthroughout absence ofthe such public rium, areas, administration plus services, city information, seminar are but placed The stoa multi-uses altermall is not to be placed in ansquare autonomous building type within partclasses ofand the presents city comes to regenAthens city centre), considered the most appropriate tobuilding compose areverting hidden building, Altermall. This area, rium, multi-uses areas, administration plus services, city information, seminar classes placed throughout thethe Therefore, what isare suggested istherefore, aasnetwork of spaces thosepark, urban voids which creates athe solid building within enclosed spaces and in multiple levels while the green the pic-nic area and the sports zone are placed within the erate and to redefine the city’s negative-unbuilt of the urban blocks, them toare solid edifice. space. The proposed building, constitutes an alternative hidden path in between the two main squares, paralbetween Syntagma andinMonastiraki square isbythe point ofspaces. the citythe fabric and presents an of absence of of such enclosed spaces and multiple levels while green park, pic-nic area and the sports zone are within the building voids. Key element of the design iscentral a mesh that the runs along built and unbuilt parts the placed edifice. This unrevealed city commercial whose shell is articulated already existing The previous commercial function thepublic arcades lelurban to the most street of Athens, Ermou Street. space. The proposed building, therefore, constitutes alternative hidden path in between the two squares, paralurban building voids. Key of the design isparts a an mesh that runs along the and built and unbuilt parts the edifice. This mesh works aselement a roof of the building tactically controlling lighting and air flow; atbuilding the same time acts as //structural URBAN ELEMENTS and the unexploited space of akaliptos of the pedestrian roads are transformed in main a of different mall which As concerns the interior of thethe building, theand enclosed spaces ofnatural the arcades the urban voids interact along lelstructural to the most commercial street of Athens, Ermou Street. mesh works acontinuity roofpublic of the building tactically controlling lighting and air at arcades the same time acts as a a framework forwith the as strategically proliferated reflectors which transfer natural light through theflow; existing building shafts, provides the aTO new area penetrating it.natural Among all the inactive urban akaliptos, the path. Thecity constant ofand thegreen levels composing the building allows an unfolded pedestrian andand cyclists moveCONVERTED Aproliferated SOLID STRUCTURE which therefore act as light tubes. Asagroup concerns the interior of the building, the enclosed spaces of the arcades and the urban building voids interact along framework for the strategically reflectors which transfer natural light through the existing building shafts, those the which connect theofcentral Syntagma square of Parliament) the areas, Monastiraki square (old ment of through interior spaces the edifice. Activities such(House as workshops, library,with reading rest areas, auditoThe stoa constant altermall iscontinuity not totubes. be placed inlevels an autonomous building type within some part of the city but comes tocyclists regen- movewhich therefore act as light the path. The of the composing the building allows an unfolded pedestrian and Athens city centre), arethe considered as the most appropriate to compose areverting hiddenclasses building, the Altermall. This area, rium, multi-uses areas, administration plus services, city placed throughout the erate and the to redefine city’s negative-unbuilt spaces of theinformation, urban blocks,seminar them toare solid edifice. The stoa altermall is not to be placed in an autonomous building type within some part of the city but comes to regenment through interior spaces of the edifice. Activities such as workshops, library, reading areas, rest areas, auditobetween andinMonastiraki square is the central pointthe of pic-nic the cityarea fabric and an absence of such public enclosedSyntagma spaces and multiple levels while green park, and thepresents sports zone are placed within the erate and to redefine the city’s negative-unbuilt spaces of the urban blocks, reverting them to solid edifice. rium, multi-uses areas, administration plus services, city information, seminar classes are placed throughout the space. proposed therefore, alternative in between the two main squares, urbanThe building voids.building, Key element of theconstitutes design is a an mesh that runshidden along path the built and unbuilt parts of the edifice.paralThis enclosed spaces and in multiple levels while the green park, the pic-nic area and the sports zone are placed within the lelstructural to the most commercial Athens, Ermou Street. mesh works as a street roof ofofthe building tactically controlling natural lighting and air flow; at the same time acts as urban buildingthe voids. Key element ofproliferated the design is a mesh that runs the and built and unbuilt parts of the interact edifice. shafts, This Asa concerns ofvoid thearcade building, the enclosed spaces oftransfer thealong arcades the urban building voids along framework forinterior the strategically reflectors which natural light through the existing negative spacebuilding urban “stoa” structural mesh works as a roof of the building tactically controlling natural lighting and air flow; the same time acts as unbuilt free “akaluptos typical urban block ofat the arcade which act ascontinuity light tubes.of the levels composing space the path.therefore The constant the building allows an unfolded pedestrian and cyclists movea framework for the reflectors which transfer natural light through building The stoa altermall is not tospaces be proliferated placed in an autonomous building within some partreading ofthe theexisting city butrest comes toshafts, regenment through thestrategically interior of the edifice. Activities such astype workshops, library, areas, areas, auditowhich therefore as lightthe tubes. erate and toact redefine city’s negative-unbuilt spaces the urban blocks, them to solid edifice. the rium, multi-uses areas, administration plus services, cityofinformation, seminarreverting classes are placed throughout The stoa altermall not in to multiple be placedlevels in anwhile autonomous building type within some the city but comes towithin regen-the enclosed spacesisand the green park, the pic-nic area andpart theof sports zone are placed erate and to redefine negative-unbuilt the runs urban blocks, reverting them to solid urban building voids.the Keycity’s element of the design isspaces a meshofthat along the built and unbuilt parts of edifice. the edifice. This negative space urban voidofarcade “stoa” structural mesh works as a roof the building tactically natural lighting and air flow;ofatthethe same time acts as unbuiltcontrolling free space “akaluptos typical urban block arcade

a framework for the strategically proliferated reflectors which transfer natural light through the existing building shafts, negative space arcade “stoa” which therefore act asurban lightvoid tubes. unbuilt free space “akaluptos typical urban block of the arcade modules The stoa altermall is not to be placed in an autonomous building type within some part of thevarious city but comes to regenerate and to redefine the city’s negative-unbuilt spaces of the urban blocks, reverting them to solid edifice.

inactive arcade active arcade

Monastiraki Square - Old Town of Athens

cultural centers cultural centers

various modules

cultural centers cultural centers cultural centers cultural centers

arcades arcades

inactive arcade active arcade

network of urban negative space mod building voids of the unbuilt areacreating a solid building within the unrevealed city negative space modu of the unbuilt areanetwork of urban building voids creating a s within the unrevealed city

negative space of the arcade

unbuilt free space “akaluptos

open spaces open spaces open spaces

inactive arcade active arcade

within the unrevealed city

various modules

open spaces

arcades

active arcade

open spaces

void arcade “stoa” INTO URBANurban CONTEXT

negative space of the arcade

module

network of urban negative space modul building voids of the unbuilt areacreating a solid building

of the arcade various modules

unbuilt free space “akaluptos

module

negative space of the unbuilt area

negative space

unbuilt free space “akaluptos

open spaces

//URBAN ELEMENTS

typical urbaninactive block arcade

arcades

urban void arcade “stoa”

urban voids

arcades

typical urban block

urban void arcade “stoa”

urban voids urban voids urban voids urban voids urban voids

typical urban block

negative space of the unbuilt area

negative space mo of the unbuilt areanetwork of urban building voids creating within the unrevealed c network of urban building voids creating a within the unrevealed cit

network of urban building voids creating within the unrevealed

Syntagma Square -Hellenic Parliament

//URBAN CONTEXT

0.00 - 02.00

20.00 - 0.00

16.00 - 20.00

8.00 - 12.00

χρήσεις ορόφων

12.00 - 16.00

ΔΙΑΓΡΑΜΜΑ ΣΥΓΚΕΝΤΡΩΣΗΣ ΚΟΣΜΟΥ

ΥΠΟΜΝΗΜΑ ΧΡΗΣΕΩΝ ΓΗΣ

ξενοδοχεία

υπηρεσίες - γραφεία

υπηρεσίες - γραφεία οικοδομικό τετράγωνο μελέτης

υπηρεσίες - γραφεία

Τράπεζα της Ελλάδος δημόσιες υπηρεσίες υπουργείο οικονομικών

τράπεζες

δημόσιες υπηρεσίες

οικοδομικό τετράγωνο μελέτης

μεγάλης κλίμακας χρήσεις

μουσείο της πόλης των Αθηνών

city university

μουσεία - χώροι πολιτιστικού ενδιαφέροντος

μουσείο Παλαιά Βουλή θέατρο Παλλάς ξενοδοχεία

θέατρο Αθηνών χώροι εκπαίδευσης

οικοδομικό τετράγωνο μελέτης

ξενοδοχείο Μεγάλη Βρετάνια

πλατεία Καρύτση

εστίαση - αναψυχή

goodys

χώροι νυχτερινής διασκέδασης

cafe περιοχή γραφείων ισόγειο Attica

χώροι εστίασης

grab and go

οικοδομικό τετράγωνο μελέτης εμπορικό κατάστημα Zara

εμπορικό κατάστημα Hondos εμπορικές χρήσεις

εμπορικό κατάστημα Attica

hondos

συνοικιακό εμπόριο

εμπορικό κατάστημα Public

attica

μεσαίας τάξης καταστήματα

public

zara

υπερτοπικά πολυκαταστήματα

άδεια καταστήματα

συνοικιακό εμπόριο

Κολοκοτρώνη

κοσμηματοπωλεία

δίκτυο μέσων μαζικής μεταφοράς

Περικλέους

ΣΤΑΣΗ ΛΕΩΦΟΡΕΙΟΥ

ΣΤΑΣΗ ΤΡΑΜ

ΤΡ

μή

ΜΕ

γρ α

μμ

ή2

γρα μ

ΣΤΑΘΜΟΣ ΜΕΤΡΟ

Πανεπιστημίου

συγκέντρωση κόσμου

ΜΕ

Σταδίου

οικοδομικό τετράγωνο μελέτης

ΤΡΟ

Μητροπόλεως

υψηλή Αμερικής

χαμηλή

ΓΡΑΜΜΗ ΛΕΩΦΟΡΕΙΟΥ

ΓΡΑΜΜΗ ΜΕΤΡΟ

λεωφόρος Βασιλίσης Σοφίας

δίκτυο στοών

παρόδιες στοές

στοές στα εσωτερικά των οικοδομικών τετραγώνων

γύρω κτίρια

μεσαία

Βουλής

στροφή στοάς

Αίθριο Κολοκοτρώνη

//URBAN VOIDS PROPERTIES

φ1,φ2

φ3,φ4

φ5,φ6

φ7,φ8

φ9,φ10

φ11,φ12

φ13,φ14

15:00

14:00 17:00 12:00

πρωινές ωρες

13:00

εμφανής μείωση φωτός κατα μήκος της στοάς

βραδινές ωρες

22:00

μειωμένο φώς τη νύχτα

φωτομετρήσεις lux

6,640 6,620

2.900 2.890

2.130 114

2.180

φ13 φ14

101

2.140

137 160

6380

147

80 147

φ1

123

φ2

170

φ2

124

119

φ3

110

φ4

177

φ1 100

114

φ5

147

φ6 φ5

φ8 φ7

φ10 φ9

1980

124

104

φ4 φ3

133

144

φ6

φ11φ12

5240

129

φ7

109

152

φ8

133

17:

890

144

φ9

915

1985

φ10

15:

132

φ11

14:

670

133

φ12

13: 00

133

1605

12:

φ13

16: 00

102

ενδεικτικά σημεία μετρήσεων

11: 00

φ14

lux

διακύμανση φωτός ανα ώρα ανα σημείο

114

11:00

12:00

13:00

14:00

15:00

16:00

17:00

Φ1

2180

946

3900

6640

2020

2900

1360

Φ2

2140

960

3990

6620

2130

2890

1280

Φ3

123

119

140

160

122

134

114

Φ4

119

103

154

147

115

131

101

Φ5

177

171

159

176

152

146

137

Φ6

152

149

148

147

136

138

136

Φ7

147

260

222

170

118

132

Φ8

104

101

110

Φ9

109

114

106

Φ10

133

140

150

144

140

125

124

Φ11

102

106

129

Φ12

132

119

140

152

104

117

100

Φ13

1985

670

3010

5240

890

1800

520

Φ14

1605

830

3030

6380

915

1980

580

101 137 160

96 147

5240

147

φ1

123

φ2

170

124

119

φ3

110

177

φ4

114 147

φ5

144 104

φ6

129 109

φ7

17: 00

152 133

φ8

16: 102

φ9

15: 00

1985 132

φ10

14:

133

φ11

13: 00

φ12 12:

φ13 φ14

11:

διακύμανση φωτός ανα ώρα κατα μήκος της στοάς

• Οι τιμές φωτεινότητας δίνονται σε lux. Οι τιμές μετρηθήκανε σε ύψος περίπου 1.5m από το δάπεδο. • Οι θέσεις Φ1, Φ2, Φ13 και Φ14 είναι εκτός της στοάς, για να αποτυπωθεί πώς ήταν και ο φυσικός φωτισμός εκείνης της ημέρας. • Ο καιρός εκείνη την ημέρα ήταν συνεχώς συννεφιασμένος κατά τη διάρκεια των μετρήσεων. Τα σύννεφα ήταν άλλοτε βαριά και γκρίζα και άλλοτε λευκά, αλλά η νεφοκάλυψη ήταν πλήρης ή σχεδόν πλήρης όλη την ημέρα. • Ο φωτισμός εντός της στοάς, με εξαίρεση ίσως τα σημεία στις άκρες της, ελάχιστα επηρρεαζόταν από τη διακύμανση του φυσικού φωτισμού. Σημαντικότερη επίδραση είχε ο φωτισμός από τα μαγαζιά και τις βιτρίνες. • Η στοά, εκτός από τα μαγαζιά, φωτιζόταν από 118 λαμπτήρες φθορισμού μίας σειράς, τοποθετημένους σε δύο παράλληλες σειρές στο ταβάνι, καθ’ όλη τη διάρκεια των μετρήσεων.

wc wc ad ad N

N 1 5° 1 5°

3 4 5 °3 4 5 °

30° 30°

20:00 20:00

24:00 24:00

3 3 0 °3 3 0 °

16:00 16:00

9:00 9:00

12:00 12:00

timezone timezone

program program

3 1 5 °3 1 5 °

urban urbangardening gardening

45° 45°

3 0 0 °3 0 0 °

60° 60° 1 stl Ju l 1 st Ju

1 stn Ju n 1 st Ju

workshop workshopseminars seminars

19 19

1 stg Au g 1 st Au 06 06

1 st 1 st M a yM a y 2 8 5 °2 8 5 °

leisure leisureactivities activities

75° 75°

18 18 07 07

1 str Ap r 1 st Ap

video videoart art

17 17

sport sportactivities activities

zone zone 1 1

zone zone 3 3

2 7 0 °2 7 0 °

15 15

library library

90° 90°

zone zone 2 2

16 16

1 st 1 st M arM ar

1 estp S e p 1 st S

08 08

09 09

1 st 1 st O c t Oc t

10 10 14 14 13 13

2 5 5 °2 5 5 °

11 11 12 12

1 0 5 °1 0 5 ° 1o stv N o v 1 st N

1 stb Fe b 1 st Fe

green greenpark park

1 st 1 st D e cD e c

1 stn Ja n 1 st Ja 2 4 0 °2 4 0 °

exhibition exhibition

17 17

16 16 2 2 5 °2 2 5 °

auditorium auditorium

15 15

10 10 14 14

1 2 0 °1 2 0 °

9 1 3 5 °1 3 5 °

11 11 13 13

12 12

2 1 0 °2 1 0 °

administration administration

1 5 0 °1 5 0 °

1 9 5 °1 9 5 °

1 6 5 °1 6 5 ° 1 8 0 °1 8 0 °

overall overallprogrammatic programmaticarangement arangement

sun sunpath pathdiagramme diagrammeofofaction actionarea area

//LONGITUDINAL SECTION ACROSS THE CONNECTED URBAN VOIDS

shafts enabling light penetration shafts enabling light penetration with surface reflectors distributing light with surface reflectors distributing light

urban urban gardening gardening

pedestrian pedestrian road road ‘Voulis’ ‘Voulis’

winter winter

green green park park

green areas reducing local microclimate green areas reducing local microclimate temperatures and filtering air. temperatures and filtering air.

distribution for cooling air distribution for cooling air and releasing it through ground tubes and releasing it through ground tubes

promenade promenade

ground air alternator ground air alternator

roof openings for ventilation roof openings for ventilation

playground playground

auditorium auditorium

workshop workshop area area

exhibitions exhibitions

winter winter

shafts enabling light penetration shafts enabling light penetration with surface reflectors distributing light with surface reflectors distributing light

summer summer

green areas reducing local microclimate green areas reducing local microclimate temperatures and filtering air. temperatures and filtering air.

summer summer

manolia μxα

bougainvillea

μxα

λxα=

- νxα

reflective surface C

(x2,y1,z2)

νxα

olive

cercis-siliquastrum

reflective surface Α

miscanthus sinensis

(x1,y1,z1)

nephrolepis exalta

φ’=2φ

robina ambigua

movement level of light raysA in space

φ reflective surface B

(x3,y3,z3)

salvia officinalis

μxa νxa

oregano

reflective surface Α

λxa

a a/2

a/2

Α. a/2√2

lavender

Δ.

Γ.

a/√2

a φ

(0,0,0)

lemon

reflective surface C

a/√(5/4)

φ’=2φ

Β.

reflective surface B

reflectors angle study for the optimization of light distribution

μxα

λxα=

μxα

- νxα

reflective surface C

(x2,y1,z2)

νxα

α α

λxa a

a/2√2

reflective surface C

Δ.

Γ.

a/√(5/4)

a/√2

a φ

(0,0,0)

Β.

φ’=2φ

a/2 a/2

Α. a/2√2 a/2√2

λxa λxa

Α.

Δ.

reflective reflective surface surface CC Γ.

Γ.

θ θ

a/√(5/4) a/√(5/4)

a/√2a/√2

a φa φ

ω ω

Β.

φ’=2φ φ’=2φ

Β.

reflective reflective surface surface BB

distribution for cooling air and releasing it through ground tubes and releasing it through ground tubes

ground air alternator ground air alternator green areas reducing local microclimate temperatures and filtering air. distribution for cooling air

summer

winter

skate park

roof openings for ventilation roof openings for ventilation

skate skate park park

wc administration

wc wc administration administration

workshop workshop area area workshop

area

distribution for cooling air and releasing it through ground tubes

(0,0,0) (0,0,0)

μxa μxa

νxa νxa a/2 a/2

φ φ

reflectors reflectorsangle anglestudy studyfor forthe theoptimization optimizationofoflight lightdistribution distribution

reflectors angle study for the optimization of light distribution

ground air alternator

reflective reflective surface surface ΑΑ

winter

proliferated proliferatedreflectors reflectorssystem systemininspace space

proliferated reflectors system in space

summer summer

shafts enabling light penetration shafts enabling light penetration with surface reflectors distributing light with surface reflectors distributing light

Α.

winter winter

video video art art

a a/2

pedestrian pedestrian road road ‘Lekka’ ‘Lekka’

movement movement level level of of light light raysA raysA in space in space

shafts enabling light penetration with surface reflectors distributing light

νx a a/2

φ’=2φ φ’=2φ

φφ reflective reflective surface surface BB

(x3,y (x33,z,y33),z3)

sum

library library

μxa

reflective surface B

roof openings for ventilation

θ θ ωω

z z

reflective surface Α oregano oregano

lemon lemon

α α

sports zone

φ reflective surface B

(x3,y3,z3)

salvia salviaofficinalis officinalis lavender lavender

(x1,y (x11,z,y11),z1)

movement level of light raysA in space y y

green areas reducing local microclimate green areas reducing local microclimate temperatures and filtering air. temperatures and filtering air.

robina robinaambigua ambigua

reflective reflective surface surface ΑΑ

φ’=2φ

ground air alternator

nephrolepis nephrolepis exalta z exalta

α α

miscanthus miscanthussinensis sinensisω

reflective reflective surface surface CC

(x2,y (x12,z,y21),z2)

green areas reducing local microclimate temperatures and filtering air.

cercis-siliquastrum cercis-siliquastrum

- νx-ανxα μxαμxα λxα= λxα=

νxανxα

roof openings for ventilation

olive olive

(x1,y1,z1)

μxαμxα

bougainvillea bougainvillea

sports sports zone zone

reflective surface Α

distribution for cooling air and releasing it through ground tubes

manolia manoliaα

// REFLECTORS SYSTEM / LIGHT MANIPULATION STUDIES

NTUA

NATIONAL TECHNICAL UNIVERSITY OF ATHENS

DIPLOMA project supervisors_prof. Andreas Kourkoulas prof. Panayotis Tournikiotis [GREEK Architects Diploma competition 2011_ MENTION]

Subject of this diploma project is the design of a burial ground in the Tourkovounia quarries, after the analysis and reconstruction into a spatial analogue of the l rhapsody of Homerâ&#x20AC;&#x2122;s Odyssey. Through the structure of the cemetery, the idea of the constant transformation of the matter oscillating between the existence and inexistence, as well as the transformation of the soul when the person comes face to face with the death is recorded. This transformation is, at first, visible in the rhapsody upon which Ulysses goes down to the Hadis underworld, in order to rebuild his lost memory through the communication with the dead. Therefore, after the deconstruction of the rhapsody into its rudimentary properties through formal diagrams, a spatial analogue which tries to translate them is produced. In other words, text is assembled in space based on a system which is wrapped between geometry and topography. Properties such as order and disorder, total geometry and fluid topography, axis and complexity, descent to deeper levels of understanding are rigorously translated into the cemetery design. As a result, a space characterized by the not linear perception by the visitor, the gradual transition among different types of individual spaces and the three dimensional illustration of memory by an introvert burial unit, creates a fragmented burial ground, waiting the visitor to translate.

NEKUIA // A BURIAL GROUND

SECTIONS FLUID TOPOGRAPHY // RIGID GEOMETRY

CONCEPTUAL PROCESS GEOMETRICAL STRUCTURE/BLURRED SPACE Ulysses descending down to the Underworld in order to recover his lost memory through the shadows, seems like diving into his subconsious. By reaching that close to the death, Ulysses is reborn. Shadows can be considered as the reflections of his memory. Eventually, the conversations with the dead are nothing less than a classification of memory procedure. Space in underworld is poorly described and it is considered as fluid and blurred, being only designated by the relations between the shadows of the dead and their luminal existance and movement. Therefore, even though the memory creates a strict order, the subject, Ulysses, perceives it as chaotic until him to rebuilt it.

REAL

FICTION

IN BETWEEN

//2 FLUID system //LAYERS OF FORMAL SYSTEM

//1 STATIC system

[cartesian version. Formal system expanding to the site infinitely until it meets topography. It seems like topography being transformed into geometry or like geometry comes from topography ]

//SYSTEM OF PATHWAYS

In order to create a mythic, dramatic ambience, an old querry constitutes the perfect site to install the cemetery. The form of the querry provides a really complex and discontinuous αναγλυφο. This complexity, the physical topography, reminds of the blurred space while the geometry tries to reproduce the bipolar structure of the order being perceived as chaotic. This geometry can be either cartesian or not. In both cases, an overlapping system interacts with the topography. This system tries to locate the memory, even if this memory is Ulysses’ or any visitor’ s of the cemetery. //SOLIDS

Hades, underworld, in Homer’s eyes, belongs to the intermediate space between real and fictionary. So does the cemetery where the absence is located. The location of an absence is nothing more than a paradox. For, the cemetery locates the inbetween of real and fiction. The cartesian grid (real) is transformed by the topography (fiction) and generated a geometrical topography which constitutes the in between. However, the static system provides a silent immobility in contradiction with the intense mobility of the fluid system. The static system prevails.

//VOIDS

//SPATIAL ANALOGUE // GEOMETRY TOPOGRAPHY

//SYSTEM UNITS CATALOGUE

//SYSTEMICAL MANIFESTETIONS

NTUA

NATIONAL TECHNICAL UNIVERSITY OF ATHENS

STUDIO 9_URBAN DESIGN / HOUSING supervisor studio9 // (NTUA NTUA project Andreas Kourkoulas assistant prof.) Ariadni Vozani February 2009 collaborators supervisor Dampasi Stephanie Andreas Kourkoulas Sideriprofessor Anna assistant professor Ariadni Vozani

_the object of desire //Parthenon urban housing design

Parthenon, for the city of Athens, constitutes its subconscious and the benchmark the most indisputable. Using this monument as a starting point, an area should be chosen in order to locate a new urban housing design capable of giving an efficient solution to the problematic athenian urban block. The timeline notion and the folding between historical periods starting from the Pericleâ&#x20AC;&#x2122;s Golden era, when Parthenon was constructed, are the keywords of the area chosen for the housing to be installed. This area in the middle of a two districts connects not only three periods of time but also three different city functions and scales. The area as a city link connects, on the foot of the Acropolis hill, the modern city, the Psirri district -an old market and housing area- and Plaka district the most ancient one. The project proposes a housing area which introduces a new urban block structure and a public space which provides to the city a new open area which interconnects two historical monuments and guides to the Acropolis hill. A gradual level deepening simulates the different time/city levels.

//FOLDED RIBBON CATALOGUE

//NEIGHBORHOOD PLAN

//FOLDED RIBBONS_UNIT APPARTMENTS

cars’ passage

//FOLDED CITY CONDITION IN Z AXIS

public area

sustainable shared space

urban block fragmentation steps //EXISTING BLOCK CONDITION AND FRAGMENTATION

gradual reduction of height Parthenon

Plaka_ancient city

Psyrri district

ancient level

//CITY- RESIDENTIAL FORM

modern city

//RESIDENCES_FUNCTIONS_FREE SPACE

free individual space

market area free pedestrian circulation //RESIDENTIAL UNIT ANALYSIS

//URBAN CONTEXT AND RESIDENTIAL STRUCTURE

//MIRRORING RESIDENTIAL AREA_ACROPOLIS

ACROPOLIS FREE SPACE REDEFINING THE HISTORY LEVELS

//CREATING FREE SPACES_RESIDENCES_RETAIL_HISTORY

PUBLIC BUILDINGS/ HISTORY

ROMAN FORUM REMINISCENTS

RESIDENTIAL AREA

HISTORY

RETAIL

PATH TO ACROPOLIS

//RESIDENTIAL RIBBON_INSERTED UNIT APPARTMENTS

NTUA

NATIONAL TECHNICAL UNIVERSITY OF ATHENS

digital documentation and management in the manufacturing and design

supervisor Dimitris Papalexopoulos, Assistant professor N.T.U.A collaborators Vassiliki Athanasiou Dampasi Stephanie Andriana Koutalianou Sideri Anna

//FORMING THE CUBE

Objective of the course is the design through the digital manipulation of the material and the construction of a model using digital fabrication systems such as a CNC cutter or a 3d printer. The main theme of the design is the cube. The form produced seems either to begin from the cube or to try to form it. In the first case, the material liquifies the cube, transforming it into a renctancle through a fluid deconstruction of the primary shape. Or, the rectangle tries to take such a form in order to create a cube. At the same time, the same procedure takes place within the first level forming. An object presenting a mobility and a constant try to take its final form becomes a static model. An event is produced and materialised. The whole construction is based on the creation of a fluid object througn curves produced by straight lines. The successive placement of units parametrically produced forms the final fluid object.

//DIGITAL FABRICATION OF A POTENTIAL VERSION

//SCHEMATIC DRAWINGS

//SCHEMATIC FORM EVOLUTION_ from the linear cube to the parametric distortion

//DIGITAL FABRICATION PROCESS

//EVOLUTION OF THE FORM IN SPACE

1 AAW

ATHENS BEYOND HISTORY URBAN TRANSFORMATIONS

1st Athens Architectural Workshop July - August 2010

organised by Nikos Ktenas (Academia di Mendrizio) supervisors Zissis Kotionis Antonello Monaco collaborators Ioanna Colovou Panorea Granitsioti

This case study attempts to provide a unified cultural park in the heart of Athens. The given area even though in the present condition consists of numerous cultural buildings, it does not function as a cultural pole because each one of them acts individually. An expanded tissue creates a pattern which brings together the five buildings organising a free space with pathways, green and water areas. The tissue seems to function as a liquid which creates a mobility among the cultural poles. The form of this tissue accrues from a constant triangle subdivision. The given area constitutes the monad triangle which begins to be fragmented in order to form the pathways which lead to crucial external roads and are the link between the museums. A further subdivision creates different height levels, boundaries, protected rest areas, green and water spaces. The tissue, which tends to be folded in three dimensions forms a â&#x20AC;&#x2DC;labyrinthâ&#x20AC;&#x2122; park which reinforces the space discovery by the walker and discloses along his way the buildings. The pattern functioning as a liquid released to the area not only surrounds the buildings but also invade into them.

FRAC_TRIANGLE //A MUSEUM PARK

expa n

ded t

issue

//SPATIAL ELEMENTS_TRIANGULATED UNIT

detail

//TRIANGULATION AS A TOOL OF DEFINING SPACE

Byzantine Museum

War Museum

national conservatory

orthodox church

i at

flo

//MUSEUM PARK

//BYZANTINE MUSEUM

//WAR MUSEUM

free space

//NATIONAL AUDITORIUM

n di

e ac

//TRIANGULATION PROCESS

//PARK SECTIONS

//THE REDEFINED NATIONAL AUDITORIUM

NTUA

NATIONAL TECHNICAL UNIVERSITY OF ATHENS

//LECABETUS : THE CITY HALL URBAN DESIGN PROJECT supervisors Andreas Kourkoulas Ariadni Vozani collaborators Anna Sideri Stephanie Dampassi

//PATH TO LECABETTUS

//UTILIZING THE EXISTING GROUND CONDITIONS

//CREATING FUNCTIONS

//EXTRUDED CONTOURS_ CLOSED SPACES

//LONGITUDINAL SECTION

//PARK FURNITURE

APPENDIX.

WRITTEN WORK

IE ‘13.

9TH INT. CONFERENCE ON SMART ENVIRONMENTS NON LINEARITY: TEXT/CYBERSPACE/ CITY

NTUA.

WRITTEN THESIS THE FINITE AND THE INFINITE// READING PETER EISENMAN

NTUA

NATIONAL TECHNICAL UNIVERSITY OF ATHENS

THE FINITE AND THE INFINITE/ READING PETER EISENMAN WRITTEN THESIS National Technical University supervisor_Panayotis Tournikiotis

The finite and the infinite consist two conditions that seem to be occur in every expression of reality. The transition of an object from its finite condition to its infinite takes place through its constant transformation. Even though this oscillation guides to a mathematical direction, this research orientates more the semiotic and interpretative analysis of an object and even more, of a work of art. In other words, this research tries to discover if a work of art, a literary work or an architectural work can be treated as an expression of this bipolarity between the finite and the infinite. The query goes more into Peter Eisenman’ s thinking process and tries to investigate if this oscillation is observed into his work, how those two bipolar conditions can be topologically expressed and why they seem to make sense as an architectural way of thought. Through constant foldings through the James Joyce’s Finnegans Wake, Piranesi’ s etchings, Umberto Eco’s and Douglas Hofstadter’s epistemological essays, a finite text is produced, based on the destructed spine of Peter Eisenman’ s work, where it eternally returns. More specifically, in all those examples, both conditions, the finite and the infinite, have been illustrated. Beggining from James Joyce’s Finnegans Wake a prototype-structure is examined. This structure oscillates between a solid enclosed unit and an inside multiplicity and folding of the material, even if this material is a for example a narrative. This multiplicity refers to a system created by the creator offering endless possibilities of interpretation by the final user. In other words, an system - object is produced waiting the subject receiver to construe by his individual background. The case is, also, examined in piranesi’s Carceri. A claustrophobic solid unit presents an endless folding of the inside by the constant staircase rise. The essay, using this pathway tries to construe the lack of subjectivity of Peter Eisenman’s object - building by focusing on Casa Guardiola, a house that was never built.

BIBLIOGRAPHY

GAD

THE BARTLETT SCHOOL OF ARCHITECTURE

WRITTEN THESIS National Technical University supervisor_Panayotis Tournikiotis

Fig.29, Serendipitor Iphone app, Mark Shepard, V2_ Institute for the Unstable Media /Eyebeam Art+Technology Center. Provides alternative and unpredictable directions according to the search word based on the Google maps API. Inspired by FLUXUS, Vitto Acconci.

figure 20, visualization by Theodor Holm Nelson, http://thedigitalage.pbworks.com

THE FINITE AND THE INFINITE/ READING PETER EISENMAN

CITY AS A PLATFORM The reading of the real city and of the virtual one could be even more supported by the wide use of the smartphones or the easy-to-carry laptops. So the human is now able to have access on the internet almost wherever he is in the city. The physical urban grid could thus envelop in itself and create a new space in between the real classification of data and the virtual matrix of information in the WWW and manifest this incredibly non linear structure that emerges from this crossbreeding of the two readings in the era that the human lives in an unknown or yet not identified space. This parallel reading of the digital and physical space could be more emphasized by an existing version of this parallel reading of the physical network of the city and the digital matrix. Applications developed for smartphones suggest a parallel manipulation of physical and digital data. ‘Serendipitor’1 is an application for iphone that utilizes Google Map’s API to “find something by looking for something else.” As the pedestrian is moving to the chosen destination, the app suggests directions and provides interactive ‘flaneries’. In almost the same frame, the ‘Derive’ is another application that creates unpredictable routes through the use of randomly drawn task cards. Another relevant application is the ‘Street Museum’ which is launched by the Museum of London. It works by using the geotagging and Google Maps to guide users to several sites in London where, through iPhone screen, various historical images of the city appear and transform the real place into an augmented reality2. The American Natural History Museum has also launched an application named ANHM Explorer3 which not only guides the visitor within the museum by suggesting routes but also it functions as an open library and data provider every time that it recognizes an exhibit. Furthermore, the city could be imagined as a ‘platform’ whose materiality is the data. The city as a physical analogue of the cyberspace is transformed into a digital configuration if it is comprehended as a platform where data are constantly added and thus its form starts to be mutated. According to Usman Haque, architect and artist, the society today is the society of the data spectacle. He states that the utilization of data, in terms of urbanity, aims to the optimization of the living conditions, the efficiency of the city structures and the better behaviour of the citizens4. He suggests that those data can be constantly being produced by the people themselves. A form of interaction emerges. Once again it is the user who controls the data of a given ‘text’ and rewrites it. This time, the text is the city-platform of interaction and the data are the literal data that the users feed it with and starts writing on it. Those data are uploaded to the cyberspace, on a website5 which hosts them in realtime. It is obvious that the physical and digital versions of the city are interrelated and the one influences the other implying an unprecedented non linearity in their cross-reference . This non linear networking is now linking not only abstract data between the cyberspace and the city, but real data that the users produce. They could be measurings of the air pollut

BIBLIOGRAPHY

Belinda Barnett, “Lost In The Archive: Vision, Artefact And Loss In The Evolution of Hypertext” (PhD thesis, University of New South Wales,1995) David Bell, Brian D.Loader, Nicholas Pleace and Douglas Schuler (eds), “Cyberculture, The key Concepts” (London: Routledge, 2004) Italo Calvino, “If on a winter’s night a traveler”,trans. William Weaver (1981)(1st edition (Italian): Einaudi, 1979) Noam Chomsky, ‘‘Syntactic Structures’’, (Berlin: Mouton de Gruyter, 1957) Derek Gregory Johnston, Geraldine Rom Pratt, ”Dictionary of Human Geography: Mental maps/Cognitive Maps (5th ed.)” (Hoboken: Wiley-Blackwell ,2009). Amy J. Elias, “Psychogeography, Détournement, Cyberspace”, New Literary History Vol 41, Autumn 2010,4, pg 821.845 Kevin Kelly,”Out of Control: The New Biology of Machines, Social Systems, and the Economic World”(New York: Basic Books,1994) Yuri Lotman ,The Structure of the Artistic Text, trans. G. Lenhoff (Oxford, Great Britain: Oxon Publishing Ltd, 1977) Robert Lawrence Trask, “Language and Linugistics: The Key Concepts” (2nd ed.), edited by Peter Stockwell, (Oxon: Routledge,2007) Lev Manovich, “The Poetics of Augmented Space”, Visual Communication,2002,5 Umberto Eco, The Open Work, trans. Anna Cancogni (Cambridge, Massachusetts: Harvard University Press, 1989) Silvio Gaggi, From Text to Hypertext: Decentering the Subject in Fiction, Film, the Visual Arts, and Electronic Media (Philadelphia, Pennsylvania: University of Pennsylvania, 1997) Douglas Hofstadter, ‘‘Godel, Escher, Bach: an Eternal Golden Braid. A Metaphorical Fugue On Minds And Machines In The Spirit Of Lewis Carroll’’(London: Penguin Books, 1979) William J. Mitchell, “ The Logic Of Architecture. Design, Computation, and Cognition” (Cambridge, Massachusetts, Massachusetts Institute of Technology: The MIT Press, 1990)

PAPERS

David Reeves Bruce Davison, (workshop at the Smartegeometry 2013 Symposium: Constructing for Uncertainty, session one, “Constructing data”, The Bartlett, London, April, 20,2013) Ben Cerveny, “Massively Multiparticipant Adaptive Systems”, (paper presented at the Smartegeometry Symposium: Constructing for Uncertainty, The Bartlett, London, April, 20,2013) Ruth Conroy Dalton, Sonit Bafna, “The syntactical image of the city: A reciprocal definition of spatial elements and spatial syntaxes”, (Proceedings) 4th International Space Syntax Symposium, London, UK, 2003 Usman Haque, (paper presented at the Smartegeometry Symposium: Constructing for Uncertainty, session one, “Constructing data”, The Bartlett, London, April, 20,2013)

WEB Florian Cramer, “Computation as Fragmentation” , http://cramer.pleintekst. nl/00-recent/words_made_flesh/html/words_made_fleshch3.html Marcelo Gleiser, ‘‘Borges, The Universe And The Infinite Library’’, accessed July 23, 2010, NPR: Cosmos & Culture, http://www.npr.org/ blogs/13.7/2010/07/23/128716508/the-universe-and-the-infinite-library Maren Hartmann, “Situationist Roaming Online”, http://hypertext.rmit.edu.au/ dac/papers/Hartmann.pdf